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Plus: • New Pedals 

• Ageless Rock Beats 

• On The Soundstage 
With Emil Richards 

• Photo Gallery Debut 

The High-Quality Tradition of Ludwig Snares. 

To be the best drummer you can be. you need the best possible drums. 
That’s why so many Lop drummers choose Ludwig snares. Ludwig snares 
are quality-crafted to give drummers the strength and versatility they 
need, with the sound they demand. Ludwig’s newly 
designed piccolo snare follows that same tradition. 

The High-Knd Pop of a Piccolo Snare. 

Built to the original 3"x 13" size pioneered by Ludwig, 
the new piccolo adds a crisp, high sound to your music. It 
makes a great jazz/fusion and concert drum, and a great 
auxiliary drum for rock and studio work. Whatever music 
you play, you'll appreciate the strength of the redesigned 
high-tension lugs, the heavy-gauge batter and snare hoops, 
and the dependable new snare strainer with lever throw- 
off action. 

New Ludwig pices come in brighter-sounding bronze shells, 
or in Classic 6-Ply Maple for drummers who prefer a warmer. 

richer tone. 

\sk to see them both at your local Ludwig dealer. 

\ Sc I nut Company * l*U Ko\ BIO * Llkharl IN Hklir* 

Hbu con fee/ it, 

smooth , fast , powerful feel of Drum 
Workshop s 5000 Turbo Bass Drum Pedal. A feeling 
that comes from DW's patented Chain & Sprocket 
system. The multi-tooth sprocket and chain design 
aflows the footboard and beater to move back and 
forth in constant unison; keeping the pedal in perfect 
ba/ance and keeping the beat feeling great. 

Made in the USA and backed by a 5 year 
limited warranty the Turbo Pedal features an 
exclusive super-smooth Turbo rocker hub 
and bearing assembly as well as the 
increased strength and stability of DWs 
original one-piece pedal plate. 

There's a complete list of available 
options and accessories - from solid 

and split footboards to toe-stops and twin springs - 
so you can customize your pedal to get the exact 
feel you want and, for precise, dynamic triggering of 
electronic sounds from your acoustic bass drum, DW 
even offers a recently updated version of their Turbo 
"E" bass drum/trigger pedol (inset) with a wider 
dynamic range and stronger signal output 

But the bottom line is this : you can't copy a 
feeling. IPs a simple fact that no other 
bass drum pedal feels as good as a DW Turbo. 
That's why so many of today's fop players play 
it. And , no matter what kind of feel you 
play - swing , funk, latin or rock, 
that's why you should be playing 
a Turbo, too. 

DW 5000 TURBO 

Shown above* 5000 Turbo Boss Drum Pedol. 
Also a variable 5000CX and 5000N. 

For a copy of our new, full-color catalog send $3 for postage and handling along with your name and address to: 

Drum Workshop, fnc, • 2697 La very Court, Unit 16 * Newbury Park, CA 91320 

Cover Photo by Leslie Burke 



A long stint with Frank Zappa has given Ed Mann the 
opportunity to improvise and experiment with percussion 
in a multitude of ways. Here, Ed shares some of what he 
has learned along the way, and discusses his first solo 
album, his work with the Repercussion Unit, and the 
role of the percussionist and of electronics in music. 

by Rick Mattingly 



One might not expect the drummer from such bands 
as Keel, WASP, and L.A. Guns to consider jazz his real 
passion, but that's just one of the ironies of Steve Riley. 

In this interview, Steve also talks about some of the highs 
and lows of the music business he has encountered, and 
the lessons he has learned from them. 

by Robyn Flans 

As one of the more sought-after big band drummers in 
New York, Alvin Stoller worked with, among others, the 
bands of Benny Goodman, Tommy Dorsey, and Charlie 
Spivak. In the 40 years since he moved out west, Stoller 
has backed up singers and movie stars like Ella Fitzgerald, 
Billie Holiday, Gene Kelly, and Fred Astaire, and has done 
endless TV, radio, and movie scores. Here Stoller reflects 
on his career and talks about the music business he is still 
very much a part of. 

by Burt Korall 




Notes and transcribed examples of Ed Mann's and Chad 
Wackerman's parts from "This Is Tomorrow," from Mann's 
solo album Get Up. 





Double Strokes, Triple 
Strokes, Accents, and 

More _ 

by Rod Morgenstein 




by Roy Bums 




The Ageless Beats Of 

Rock 'N' Roll _ 

by Kenny Aronoff 





The Black Max Pedal 
by Rick Van Horn 


The Vruk 

by Bob Saydlowski, Jr. 


The Upbeat Pedal 

by Rick Van Horn 




Different Drummer 
by Norman Weinberg 



Phil Jones: "Runnin' 
Down A Dream" 

Transcribed by 
William F. Miller 


Drums: An Engineering 

Analysis: Part 2 _ 

by Spiros A. Psarris 




Billy Goodness 
by Michael Lee Briggs 




















'Tis The Season Of The 

Sequel _ 

by Emil Richards 











The Classifieds 

Classified advertising has been a part of Modern Drummer since 
our very first year of publication. Drum Market is the place in the 
magazine where one can quickly locate everything from used 
gear, vintage equipment, and study materials, to a drum teacher or 
even a gig. 

Interestingly, Drum Market is one of the most well-read sections 
of the magazine each month. Readers are usually invited to call or 
write for further information, or to send a nominal fee fora catalog 
or brochure. Drum Market is also appealing in that it tends to 
encompass the lower end of the cost spectrum for the budget¬ 
conscious buyer. 

Occasionally, small problems will arise with classifieds, as they 
do for most widely circulated international publications that choose 
to publish them. Because Drum Market is made up of a substantial 
amount of smaller ads that generally arrive close to each month's 
deadline, it's virtually impossible for us to screen them all. In most 
cases we must assume that the advertiser is making an honest offer 
and will do well by his customer. Unfortunately, very few national 
magazines and newspapers have the time or manpower to screen 
classifieds, and readers should be aware of this. 

However, I think it's important to mention that considering the 
thousands of ads that have appeared in Drum Market over the 
years, we've had a remarkably small percentage of complaints. I 
think it's safe to say that the overwhelming majority of Drum 
Market advertisers are sincere drum industry people, anxious to 
meet their obligation to readers. 

Of course, every industry has that small group who never seem 
to fit into that description. And on occasion, one bad apple can get 
in among the good ones and cast a bad reflection on the rest. Most 
mail-order advertisers are aware that failing to be totally upright 
with their customers comes under the heading of mail fraud—a 
pretty serious federal Offense. Those who are not aware of it are 
quickly enlightened. Still, some people just love to test the limits of 
the law. Obviously, when that occurs, it's our full responsibility to 
weed them out of the magazine. 

Should you ever have a legitimate complaint with a classified 
advertiser, please don't hesitate to contact our Advertising 
Department at once. A complaint can range from not receiving the 
merchandise you paid for to being fed misleading information 
through false advertising. Be sure to supply us with the advertiser's 
name and address, the issue in which the ad appeared, the items 
ordered and the date you ordered them, and copies of all cancelled 
checks or correspondence. This information will enable us to go to 
bat for you in the most efficient manner possible. 

Again, I do want to stress that we've had an extremely limited 
number of problems with Drum Market advertisers in 14 years of 
publishing MD —probably less than 1%. Personally, I think that 
alone says something pretty good about the integrity of our industry 
as a whole. Nonetheless, we certainly want to be advised of any 
problems if and when they do arise. 



Ronald Spagnardi 


Isabel Spagnardi 


Rick Mattingly 


Rick Van Horn 

William F. Miller 
Adam Budofsky 


Cynthia Huang 


Terry Kennedy 


Scott G. Bienstock 


Tracy Kearney 


Joan C. Stickel 


Bob Berenson 


Crystal W. Van Horn 


Leo Spagnardi 


Arnold E. Abramson 


Henry Adler, Kenny Aronoff, 

Louie Bellson, Bill Bruford, Roy 
Burns, Jim Chapin, Alan Dawson, 
Dennis DeLucia, Les DeMerle, 

Len DiMuzio, Charlie Donnelly, 
Peter Erskine, Vic Firth, Danny 
Gottlieb, Sonny Igoe, Jim Keltner, 
Mel Lewis, Larrie Londin, Peter 
Magadini, George Marsh, Joe 
Morello, Andy Newmark, Neil 
Peart, Charlie Perry, Dave Samuels, 
John Santos, Ed Shaughnessy, Steve 
Smith, Ed Thigpen. 


Susan Alexander, Robyn Flans, 
Simon Goodwin, Karen Ervin 
Pershing, Jeff Potter, Teri Saccone, 
Robert Santelli, Robin Tolleson, 
Lauren Vogel, T. Bruce Wittet. 


(ISSN 0194-4533) is published 
monthly with an additional issue 
Publications, Inc., 870 Pompton 
Avenue, Cedar Grove, NJ 07009. 
Second-Class Postage paid at 
Cedar Grove, NJ 07009 and at 
additional mailing offices. Copy¬ 
right 1990 by Modern Drummer 
Publications, Inc. All rights 
reserved. Reproduction without the 
permission of the publisher is 


Modern Drummer Publications, 

870 Pompton Avenue, Cedar 
Grove, NJ 07009. 

MANUSCRIPTS: Modern Drummer 
welcomes manuscripts, however, 
cannot assume responsibility for 
them. Manuscripts must be accom¬ 
panied by a self-addressed, 
stamped envelope. 

MUSIC DEALERS: Modern Drum¬ 
mer is available for resale at bulk 
rates. Direct correspondence to 
Modern Drummer, Dealer Service, 
870 Pompton Ave., Cedar Grove, 
NJ 07009. Tel: 800-522-DRUM or 

SUBSCRIPTIONS: $25.95 per year; $46.95, two years. 

Single copies $2.95. 

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six weeks for a change. Please provide both old and new address. Toll 
Free Phone: 1-800-435-0715. 

POSTMASTER: Send address changes to Modern Drummer, P.O. Box 
480. Mt. Morris. IL 61054. 

A Member Of: 


Magazine Publishers of America 

ISSUE DATE: January 1990 





Rick Mattingly's interview with Jack 
DeJohnette in your October issue was 
complete, incisive, and well-written. Jack's 
comments were illuminating and entertain¬ 
ing. What more could be asked of a maga¬ 
zine cover story? Thanks for the excellent 

Chuck Gilspeth 
Baltimore MD 

Except for his name in a couple of ads, I'd 
never heard of Jack DeJohnette. I have never 
heard him play. I'm a hard-rock drummer, 
and jazz drummers have never interested 
me. But DeJohnette's comments seemed to 
cover a lot of ground; he seems pretty open 
to a lot of things. Every so often one of your 
stories reminds me that drummers outside 
of rock have something to say—musically 
or verbally—that might be useful to me, 
too. Thanks for the info on Jack; I just might 
check him out. 

Billy Baducah 
Tyler TX 


I've been waiting to read about Richard 
Bailey for many years, since I heard him 
play on Beck's Blow By Blow. I have to say 
that it seems a bit of a musical comedown 
that he's now playing for the likes of Billy 
Ocean, but I suppose a gig is a gig for any 
of us. Anyway, thanks very much for the 
article. I really enjoyed getting all the back¬ 
ground on Richard and his ethnic influ¬ 

John Filmer 
Redding CA 


A recent It's Questionable item (October 
'89) discussed the Ghost bass drum pedal. 
I'd like to add my comments. In early 1975, 

I bought a Ghost, and found that it was 
quicker than the Speed King I'd been us¬ 
ing for the previous 13 years. A couple of 
years later, I decided to buy a second 
Ghost, since I wanted a spare at gigs and 
to use for practice. So in late 1977 I bought 
a Ludwig Ghost. Although it did look the 
same, the action—even after weeks of play¬ 
ing— was nowhere near that of the origi¬ 
nal pedal. Spring adjustment did not help 
the problem, and I ended up trading the 
second pedal back to the dealer. 

My original Ghost has been played al¬ 
most every day for 14 years, and the only 
problem I've ever had is worn footboard- 
to-beater straps. If I can't find these, I make 
them. I do not change spring tension, since 
this causes the beater to drastically change 
angle. I use this pedal for all my playing 
and practicing, and it has been on the set 
at numerous jam sessions where it has en¬ 
dured lots of hard playing. (One guy broke 
a new head with it.) Some players love it 
and others can't use it, but all agree that it 

I suggest that Ludwig "de-improve" the 
tooling, or correct whatever it was that 
made their model different from the origi¬ 
nal. Then they could reissue the Ghost 
and have two great pedals to offer. I'll take 
a dozen. 

Mike Moody 
Bloomington IN 


Thank you for the wonderfully insightful, 
entertaining, and inspiring interview with 
Bobby Previte. [September '89 MD] I am 
greatly sympathetic to his thoughts and 
words and am equally grateful to Modern 
Drummer for printing them. My heartfelt 
appreciation to you both. 

Alex Cline 
Santa Monica CA 


I would like to compliment the article by 
Joe Ferry in the August issue entitled "Re¬ 
flections Of A New York Producer." I thor¬ 
oughly enjoyed reading about his perspec¬ 
tive on some of the great drummers he has 
worked with. It gave me a greater appre¬ 
ciation for drummers like Steve Gadd and 
shows just how proficient and professional 
they can be even under adverse conditions 
(such as working with a producer who 
neglected to include a drum chart for him 
on a tough piece of music!). Having non¬ 
drummers in the industry talk about our 
heros' adventures in the drumming world 
adds fresh perspective to our idols. Please 
give us more in the future! 

Gord Kribs 
Bowmanville, Ontario, Canada 


I was both pleased and surprised to learn 
that I was one of the winners of the July 
MD Trivia Contest and that I would be 
receiving the great set of products from JT. 
Enterprises. Many thanks to Modern Drum- 
merfor running these enjoyable and chal¬ 
lenging trivia contests. 

I have been a subscriber to MD since its 
very first issue, and I can't begin to tell you 
what an invaluable source of both infor¬ 
mation and inspiration it has been to me. 
Almost every day it seems that I am dig¬ 
ging through back issues simply for enjoy¬ 
ment or to find some article to show to one 
of my drum students. As a teaching aid, 
MD is impossible to beat. The balance of 
topics and material is always perfect and (I 
can't say this about every other magazine 
that I read) there has never been even one 
issue from which I did not learn something 
new. MD is a great publication; keep up 

continued on page 104 


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Copyright 1989 Yamaha Corporation of America. Synthesizer, Guitar and Drum Division, 6600 Orangethorpe Ave , Buena Park, CA 90620 



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Glenn Symmonds has had a 
hectic year with Eddie Money, 
with whom he has been for the 
past four years. "I had been 
playing in town with the Un¬ 
touchables, and Eddie was in 
town auditioning drummers. 

He came to one of our shows 
and came backstage and 
offered me the job. I turned 
him down, but he eventually 
talked me into it. At that time, I 
had heard so many stories 
about Eddie being messed up 
on drugs, so it was important 
for me to find out that he 
wasn't doing that. Once I 
found out he was clean and 
sober, it worked out great. Af¬ 
ter all this time, I'm the band 
leader, meaning that I put the 
band together and represent 
the band." 

Musically, what Money 
needs from Glenn is a suppor¬ 
tive drummer. "He's a singer, 
so he doesn't want somebody 
who is going to get in the way. 
It's very simple rock; I call it 
meat and potatoes rock. Yet 
there are some things we do 
with sequencers and more 
modern technology. The music 
needs authority and convic¬ 
tion—leadership—and he 
needs somebody who really 
establishes the time and the 
feeling of his music. He just 
requires a solid beat and gives 
me space to do what I need to 

At one point during 
concerts, the band leaves the 
stage, giving Glenn ten 
minutes to do a solo at the be¬ 
ginning of "Shakin." To Glenn, 
a good solo is "communicating 
to somebody, making some¬ 
body in that audience react. I 
have a skeleton of a solo, and I 
dress that skeleton for the 
evening the way I feel, 
whether it's putting on a 
different pair of shoes or a 
different shirt, or dressing that 
skeleton with earrings and 
lipstick—who knows? Each 
night it's a little different," he 
says, adding that "Baby Hold 
On" and "Walk On Water" are 
also favorites of his to play. 

As for the records, Glenn 
says he's gotten to do some 
recording with Money, but that 

"That's one of the political 
sides of the music business 
that people don't really hear 
about a lot of times. Eddie may 
really want me to do a record, 
but the producer might say, 
'Hey, I've got my own guys I 
use on all my records.' That's 
unfortunate, but he is hope¬ 
fully going to allow me to play 
on the two new tracks he's 
going to add to his greatest-hits 

In his spare time, Glenn 
plays with the International 
Reggae All stars (Peter Tosh's 
band), leads a celebrity golf 
tournament each week with 
drummers from all over the 
southland (California, that is), 
and teaches between 15 and 
25 students each week he's 

—Robyn Flans 



Since the early part of 1987 
Adam Nussbaum has been 
touring the USA and Europe 
with Michael Brecker's band. 
Just before their appearance at 
the Northsea Jazz Festival in 
Holland—this year visited by 
55,000 people—Adam related 
what was in store for the band 
in the near future: "We're just 
finishing up our European tour 
now. Then we'll go to Japan to 
play a large festival there, 
called Live Under The Sky, 
featuring Roberta Flack, Ernie 
Watts, and the big Ellington 
retrospective. That's about 
seven gigs throughout Japan 
and Hong Kong." Adam says 
he enjoys playing in Michael's 
band very much. "It's a lot of 
fun, musically speaking. The 
best way to describe it would 
be as a 'Bop & Roll' band, 

because we play some serious 
jazz as well as some serious 
kind of backbeat music. All the 
musicians [Mike Stern on 
guitar, pianist Joey Calderazo, 
Jeff Andrews on bass, and of 
course Brecker on sax] are 
very strong. This group is a 
chance for me to utilize a lot 
of my musical influences, and 
to bring forth a lot of the music 
that I like to play, in just one 
band. Everybody plays the shit 
out of it in this group; every¬ 
body is really throwing it 

"Next to this band I've also 
been doing a lot of free¬ 
lancing and recording with 
different people," Adam 
continues. "I just did the first 
Blue Note album by Rick 
Margitza, who's playing tenor 
in Miles Davis's band now. I 
also did a record with bebop 
singer Jackie Paris, and one 
with Tom Harrell, who used to 
play in Phil Woods' band. 
Those are all jazz recordings, 
but I like to cover a lot of 
territory. Some things satisfy 
needs that are just not satisfied 
in other situations. Like 
playing in an acoustic piano 
trio: Then I can pull out the 
old K's, which I can't do in an 
electric band. It's hitting at a 
different dynamic level. To be 
able to achieve the intensity in 
a small group as well as in a 
big one requires different 
concepts, different kinds of 
dynamic control." 

Adam was also involved 
with a European big band run 
by Swiss pianist George 
Gruntz. "We did a little tour in 
May, and we recorded the 
group," Adam explains. "He 
usually gets musicians from all 
over the world and puts it 
together, like an all-star big 
band. He's done a lot of 
writing, and he's been active 
in the scene here in Europe, 
being involved with classical 
projects as well. Last year we 
did a jazz-opera with the 
Hamburg State Opera, which 
was called Cosmopolitan 
Greetings and featured a 
sextet, including three singers, 
on stage. Furthermore, there 
were two dancers, a big band 
off stage, and an orchestra. 

Dee Dee Bridgewater was 
involved, as were vocalist 
Marc Murphy, trumpeter Don 

Cherry, and Larry Schneider on 
saxes. It was an interesting 
project, coordinated by Robert 
Wilson, who is known for his 
modern multimedia events. 
We're talking about doing it 
again in 1990, maybe as an 
international production. 
Another of my future projects 
is an idea of pianist/composer 
Jim McNeely's that we'll do 
together with John Scofield 
and Marc Johnson." 

—Hugo Pinksterboer 

Martyn Barker 

Although Martyn Barker is a 
member of King Swamp and 
has recently completed their 
album, he has also recently 
done projects for Shriekback 
(Go Bang!), Karl Marsh, 
Annabel Lamb, and World 
Party. On King Swamp's self- 
titled effort and Shriekback's 
current release, particularly, 
Barker added a great deal of 
his input. 

"With the likes of 
Shriekback, I was more 
involved in getting a different 
rhythm with lots of percussion. 
When we were doing live 
shows, the intention was to get 
people to move, to dance and 
keep that energy level. All 
their rhythms are linear; there 
are no fills or anything like that 
at all. With Shriekback, it's a 
bit more intricate and jazzy 
than with King Swamp. 

"King Swamp has a lot of 
high-energy stuff," Martyn 
continues. "Take for instance 
'Original Man,' which is a very 
fast 4/4 groove and which 
really has to flow. It has sort of 
a difficult rhythm to do. I was 
working on getting that rhythm 
movable for the song and 
making it different as well. If 
you take Mel Gaynor's 
drumming with Simple Minds, 
when he does a rock beat, he 
pushes 16ths on the hi-hat, 
which kind of drives it. 

'Original Man' is very similar 
to that, but there are quarters 
and 8ths, and we have an 
accent on the bass drum, just 
before the four-in-the-bar beat. 
It kind of pushes it along and 
makes it really exciting. 
Meanwhile, the bass guitar is 
doing 8ths. I also did a bit of 
programming on the album. 
And there is a lot of percus- 



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sion—tambourine, shakers, 
lots of cymbal crashes. There 
was even more percussion on 
the Shriekback album, though, 
with gongs, congas, and 

"'Sacrament' on the King 
Swamp album is one of my 
favorite tracks," Martyn says. 
"It's one of those very big 
ballad-type songs where you 
really have to capture the feel. 
Everybody loves to do big, fast 
songs, and they're easy to do, 
but it's kind of the moody, 
slow-moving songs with that 
big snare drum that are a 
challenge—getting that right 
sound on the snare drum and 
just getting the right feel, 
making it really, really huge 
and building it. 

"'Is This Love' is a combina¬ 
tion of drum machine and real 
drums, with bits of cymbals 
and accents, working around 
the drum machine. In the last 
couple of years I've learned 
howto use drum machines 
and work around them. 
'Louisiana Bride' has a great 
Linn Drum feel. If you try to do 
it with real drums, it doesn't 
quite capture it, so you work 
around it. 

'"Motherlode' is one of 
those rhythms that you do the 
same bass drum beat all the 
way through the song. I started 
it from kind of a rimshot idea, 
then putting the snare in and 
building it. I played to a click 
track, which I think you have 
to do because it's such a 
linear-type feel. I put a triangle 
and a tambourine in and 
overdubs of crashes. But the 
basic beat was done in one 
take. It's a very difficult one to 
do because you really have to 
swing it and you've got the 
triangle doing 3's over the 4/4 
beat." Martyn says that King 
Swamp should be completing 
another album by spring of 
next year. 

—Robyn Flans 

Paul Read 

One night Paul Read was 
working in a local bar band in 
his town of Ipswich, England, 
when someone from the 
Outfield's management team 
wandered in. A couple of 
weeks later, they phoned Paul 
and asked him to sit in the 

drum seat that Alan Jackman 
had recently vacated. "That's 
alright, isn't it!" Paul exclaims 
with a laugh. "The next thing I 
know, I'm being flown around 
to all kinds of places and 
doing all these fantastic gigs." 

Actually, first he went to 
London to rehearse with them 
for a day, and then he had the 
job. "I just listened to the 
albums a lot to prepare," he 
recalls. "I put the headphones 
on, turned up loud, and 
drummed along with them. 
That's how I learned how to 
play drums in the first place, 
by listening to other drum¬ 
mers. Then as we're playing 
the songs live, new ideas are 
constantly coming up. On the 
older, more popular songs, I've 
kept the majority of the fills the 
same, but I've had no pressure 
on me to play certain parts at 
all. We work it as a new band, 
really," Paul explains, adding 
that the music requires a 
steady groove beat, lots of 
power, and little flash. 

"We do an extended version 
of a song called 'I Don't 
Need Her,' and it turns into a 
jam. No night is the same. I 
don't think I drum the same 
way twice, anyway. Every¬ 
thing I do is spur of the 
moment, and I never really 
know what I'm going to do, to 
be honest with you. It's just a 
jam improvisation." 

Needless to say, the past 
year has been a big change for 
Paul. "It's really a dream come 
true," he says. "This is all I've 
ever had my heart on doing, so 
I was all ready for it. Plus I'm 
having to use technology— 
programming—that I haven't 
done before. I'll program a few 
percussion tracks, stuff I'd do if 
I had another set of arms, 
really—tambourine, triangles, 
and that sort of thing." 

The album on which the 
Outfield is currently working— 
his first recording with the 
band—promises to be a group 
project, says Read. "There are 
a couple of songs that Tony 
[Lewis] and John [Spinks] have 
more or less finished, where 
they know roughly how 
they're going to be. But the 
rest of the album will be pretty 
much made up spur of the 

—Robyn Flans 


The Cleveland Opera opened 
its 1989-90 season with the 
world premiere of Floly Blood 
And Crescent Moon, com¬ 
posed by Stewart Copeland. 
Shown in the photo are (left to 
right) Copeland, Cleveland 
Opera Director David 
Bamberger, and conductor 
Imre Pallo. 

Milton Sledge on current 
albums by Barbara Mandrell, 
Kathy Mattea, Shenandoah, 
Crystal Gayle, the O'Kanes, 
and Russell Smith. 

Marc Cohen touring with 
Russell Smith. 

Clint de Ganon can be 
heard on Warren Wolfs new 
record, as well as playing live 
with Wolf and doing some 
European dates with Peter 
Moffitt. Clint also completed a 
track for a Japanese group 
called Bread & Butter. 

Matt Johnson on tour with 
Canadian group 54-40 in 
support of their new album, 
Fight For Love. 

Terry Bozzio on Jeff Beck's 
Guitar Shop, as well as doing 
live dates with the group. 

Sol Gubin working with 
Frank Sinatra. 

Mel Watts on Del Shannon's 
current release, as well as 
doing dates with Shannon. 

Mel is also on an album for 
CBS artist Zaca Creek (and can 
be heard on the Traveling 
Wilburys' "Let's Dance"). 

Percussionist Bill Summers 
working on Quincy Jones's 
newest effort. 

Craig Krampf producing and 
playing on Ashley Cleveland's 
Curb debut. 

Eddie Bayers working with 
Eddy Raven and Alabama, and 

can be heard on some of Buck 
Owens' new tracks. 

Harry Stinson is also on 
Buck Owens' newest, as well 
as working with J.C. Crowley, 
Rob Crosby, Steve Wariner, the 
Forrester Sisters, Suzy Boggus, 
and Matraca Berg, and begins 
working on James House's 
next album next month. He is 
also the writer of the Ricky 
Skaggs single "Let It Be You." 

Geoff Dugmore on Tony 
Banks's Bankstatement. 

Michael Graves back in the 
studio with Broken Homes. 

Matt Chamberlain on New 
Bohemians' contribution to the 
soundtrack for Bom On The 
4th OfJuly. The band is due to 
go into the studio next month. 

James Stroud on The 
Snakes' debut Curb release. 

Rikki Rockett enters the 
studio this month with Poison, 
who hope to have an album 
out by next June. 

Chalo Quintana on the road 
with Walking Wounded in 
support of their album Raging 
Winds Of Time. 

Frank Beard is on the new 
ZZ Top album, as well as 
playing a part on the Disney 
Channel's Mother Goose Rock 
'n' Rhyme, a 90-minute 
musical movie produced by 
Shelley Duvall. He and his 
two ZZ cohorts play The Three 
Men in a Tub in an elaborate 

Russ Kunkel on tour with 
Stevie Nicks. 

James Bradley, Jr. on the 
road with Mary's Danish, 
supporting their album There 
Goes The Wondertruck. 

Charly Alberti spent the fall 
touring Latin America with 
Soda Stereo. 



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Q. You re a drummer I really like to listen 
to; you seem to have that special touch 
when you jam on your drums. In addition 
to your talent, you have a great build, and 
you seem to control your body very well 
when you work with the sticks. I'm a 25- 
year-old bodybuilder, and I've been play¬ 
ing drums for five years. I want to work on 
my speed and control, with both hands 
and feet. Should I spend more time in the 
practice room and less in the weight room? 
Are there some special exercises that you 
work on to develop that special touch? 

Gerardo Silva 
Redwood City CA 
A. I generally practice with parade sticks, 
about the Pro-Mark 767 weight, and a prac¬ 

Q. I was really impressed with your Sound 
Supplement in the July issue of MD. One 
thing I noticed in the notes prior to the 
transcription is that you mention compos¬ 
ing with Marillion. I am a very big Maril- 
lion fan, and have never seen your name 
mentioned in connection with the band. 
What exactly was it you did with them? 
Also, who are the other members that you 
mention play on the Supplement and demo 
with you? Good luck with your solo mate¬ 

Jim Siegel 
Sharon MA 

A. Thank you for your letter; I'm glad you 
enjoyed the Sound Supplement. To answer 
your question, I worked with Marillion for 
a short period in the fall of 1983. During 

tice pad. I concentrate on posture and bal¬ 
ance while sitting at the drumset, since I 
believe that if a player sits below or above 
the drumset he immediately is working at a 
power-distribution disadvantage and can¬ 
not possibly utilize all of his power source. 
If you work in the gym, then you know that 
you cannot obtain a full workout without 
first knowing how to prepare to lift so that 
the optimum effect can be gained from the 
exercise you are doing. Maintaining good, 
solid, personal balance in lifting free weights 
is very, very important. 

How you address the drumset is also 
very important to your control of the drums. 
If you work a lot with the forearm muscle 
group to gain and maintain speed, then I 

that time, we did a live German radio broad¬ 
cast (which was later pressed and released 
in Europe), then headed to Rockfield Stu¬ 
dios in Wales to start writing the next al¬ 
bum. My contributions as a composer/ar¬ 
ranger were mainly on "Punch & Judy," 
"Incubus," and "Jigsaw." These three songs, 
as well as "Assasing," were all written and 
demoedprior to my leaving the band. You 
will find my name listed among the credits 
of the Fugazi album. 

Here's some background on the other 
two players on the Supplement: Michael 
Bean (bass) has recorded and/or performed 
with a variety of players, including myself, 
Vinnie Moore, Richie Kotzen, and Blues 
Saraceno. Brian Rahlly (guitar) is a Boston- 
area musician who can be seen and heard 
with many of the local acts there. 

would suggest that you try the smaller, more 
agile finger group. The fingers tend to pro¬ 
vide you with more speed—as well as the 
ability for greater staying power when it 
comes to sustaining a particularly fast and 
complex pattern. 

I don't think that you necessarily need to 
spend more or less time in the weight¬ 
training room versus the drum-practice 
room. But I do think that you need to study 
how the patterns that you probably already 
control to a certain degree can work better 
for you with a much more limited amount 
of effort applied to them. This is accom¬ 
plished by understanding your body and 
how you can make it work more efficiently 
for you. 


Q. I went to see you many times when you 
played with the Good Rats in and around 
Long Island, New York, and your style and 
showmanship really inspired me to play 
the drums. I noticed then that you were 
playing Premier drums, and I was wonder¬ 
ing if you still do and what your setup 
looks like. Can you fill me in please? 

Gerry Seidl 

Lowell MA 

A. Thank you for the kind words. I'm glad 
to have inspired you. Yes, I still use Premier 
drums, and have been for 12 years now. In 
my current live setup, I use two 16x24 
Resonator bass drums, 12", 14", and 15" 
Projector power rack toms, and 16" and 

18" floor toms. Sometimes I'll use 10", 12", 
and 14" rack toms for recording. I also 
often record with one of my old Premier 
Soundwave kits because I love the sound 
cf Soundwave toms. For snares, my current 
favorite is the Premier 6 1/2x14 brass snare. 
The drum was modified for me by Tom 
Meyers at Premier. He puts on extra-wide 
snares and a heavy-duty top rim (the kind 
they use on their parade drums). He also 
silicones two thin rubber fan belts around 
the inner shell, top and bottom, to take out 
just enough of the ring. For recording, I'll 
also bring along a 6 1/2" and an 8" wood 
snare, as well as my Premier piccolo snare. 



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hitters use RIMS? 5 

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Most importantly, with RIMS, the fundamental 
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through. RIMS can help you eliminate unwanted 
high-pitched overtones and ring without using 
tape, towels or tissue. 

Plus, your toms tuning capability and range 
will increase — especially in the lower register. 
It’s the edge you seek for live or studio playing. 

Hit one of your mounted toms. You’ll hear a 
loss of sound quality as the vibrations from the 
drumhead deaden. This is due to the grounding 
effect that mounting hardware has on your 
drum shell. 

Now remove the tom, 
support it with your 
fingertips under the 
hoop, and strike it 
again. Notice the imme¬ 
diate improvement in 
the sound quality when 
you eliminate grounded 
hardware. RIMS work 
like your fingertips. 

RIMS also isolate 
vibrations from other drums for miking and 
triggering applications. 



'lake a look at the oscilloscope picture. Adding 
RIMS allows the shell to vibrate freely. The 
fundamental pitches’ attack has greater 
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sustain or duration of audible sound is signifi¬ 
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mounts on your toms is a iew 
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Q. Please give me an address for the Sleishman Drum Company in 
Australia. I would like to get specific information on their double 
pedal pictured in your Summer NAMM '89 feature on page 36 of 
the October 1989 issue of Modem Drummer. Sleishman's pedal is 
the ideal product that will give me the body positioning I have 
been seeking on my kit. 


Havelock NC 

A. You can contact the Sleishman Drum Company at Tl Prices 
Circuit, Woronora, New South Wales 2232, Australia. You should 
direct your correspondence to Don Sleishman, who invented the 
pedal; he'll be pleased to learn of your interest. 

Q. I have two questions, both relating to the J.C. Deagan com¬ 
pany. First, what is their current status, and second, where can I 
get spare parts (pickups, support pieces, grommets, etc.) for a 
Deagan Model 575 Electravibe? Mine is in desperate need of 


Albany NY 

A. The J.C. Deagan company was purchased by Yamaha seven 
years ago. Yamaha has continued to manufacture only chimes and 
orchestra bells, and can only supply parts for those instruments. 
This manufacturing takes place at Yamaha's Grand Rapids, Michi¬ 
gan facility. 

Deagan instruments were originally manufactured at 1770 West 
Bertrau, Chicago, Illinois 60613. That is now the address for 
Sentry Mallet Works, which is owned and operated by Mr. Gilberto 
Serna. Yamaha sold the parts and tooling that they did not want 
from the Deagan lines to Mr. Serna. You can contact him for 
further information regarding parts for your Electravibe. His num¬ 
ber is (312) 248-7733. 

Q. I was wondering why no major drum company—or any drum 
company, for that matter—is producing drums with pure fiberglass 
shells. I know that Pearl and Yamaha used to make them in the late 
'60s but discontinued production in the early 70s. Were the 
drums expensive to make, were there mechanical problems in¬ 
volved with the drums, or did the market go bad because of 
newer, better-sounding wood drums? I was also curious whether 
fiberglass shells in good condition will be collectors items in the 
near future. Finally, I've heard of drummers Vibrafibing their wooden 
drums with fiberglass. Is this an alternative to having all-fiberglass 


Denver CO 

A. While it is true that some of the companies that made fiberglass 
drums in the '60s have either discontinued those drums (such as 
Pearl) or have gone out of business completely (such as North and 
Fibes), it is certainly not true that no major drum companies are 
producing all-fiberglass drums today. Tempus Instruments and 
Impact Industries both offer excellent fiberglass drums, and raw 
fiberglass shells are available from A.F. Blaemire for those who like 
to custom-build their own drums. 

The demise of the earlier fiberglass drums was due mainly to 
changing trends in drum sounds. Fiberglass drums produce bright 
drum sounds with lots of sharp attack. They are also quite loud. 
During the '70s, we saw the heyday of the dull, flat, "studio" 
sound in drums, which called for mellower-sounding drums made 
of wood. Fiberglass drums had always been a small portion of the 
overall drum market, and when interest in them sagged even more 
due to this trend, the drum manufacturers simply found that it was 
no longer profitable to offer them. Those companies that also sold 
wood drums continued to do so; most of those that sold only 
fiberglass drums left the market entirely. While it is not likely that 
any fiberglass drums will be collectors items simply because they 

are fiberglass, it is not unusual for collectors to look for drums 
made by some of those companies that went out of business, such 
as North, Fibes, orZickos. 

Finally, Vibrafibing is a process by which a fiberglass coating is 
applied to the interior of wood shells. It first came to prominence 
when Neil Peart described how he had had it done to his drums 
by the Percussion Center, of Fort Wayne, Indiana. It is not really an 
alternative to all-fiberglass shells; it is a means of gaining some of 
the properties of fiberglass shells (increased projection and reflec¬ 
tiveness) while retaining some of the warmth and depth of wood. 

Q. Do you know of any companies who specialize in customizing 
bass drum heads, in terms of putting pictures on them? 


Maiden MA 

A. We know of no company whose business it is to illustrate bass 
drum heads. However, any good commercial art firm or sign 
painting company could probably do such a job for you. Obvi¬ 
ously, you'll need to give them a sketch of the design and/or 
lettering you want, or work with their artists to create such a 
design. It will also be important for you to take the drumhead in to 
them when you first discuss such a project, since most drumheads 
are made of Mylar, which is difficult for some paints and inks to 
adhere to. A white-coated head will generally serve as a better 
"canvas" for artwork than any smooth head, but a knowledgeable 
artist will be able to determine what sort of medium will work best 
on whatever head you wish to use. 

The Remo company can do some custom artwork as a special- 
order item on drumheads they manufacture. You should contact 
the company directly at 12804 Raymer Street, North Hollywood, 
California 91605 for further information. 

Q. In the February 1989 issue of MD, there is a Product Close-Up 
on Paiste 2000 and 3000 cymbals. In the section about the ride 
cymbals it mentioned that the 22" 3000 Heavy Ride had a good 
bell, but that its sound was choked with a wood-tip stick but 
improved with a nylon-tip stick. Does that mean I can use a 58 or 
28 nylon-tip stick, or does it have to be a lighter stick to bring out 
the precise sound of the cymbal? 


North Arlington NJ 

A. There are a lot of factors involved in answering your question. 
Generally speaking, any nylon-tip stick will produce a sharper, 
brighter "ping" sound from a cymbal than will a comparable 
wood-tip stick. Also generally speaking, a stick with a gradual 
taper and a thinner neck will produce a more delicate, higher- 
pitched sound than will a stick with a thicker neck and more 
weight up front. (Such a stick will bring out more of the full range 
of a cymbal's pitches.) And finally, the third generalization to keep 
in mind is a relationship between stick and cymbal: The smaller 
the stick size in relation to the cymbal weight and thickness, the 
lighter and more delicate the sound produced by that stick on that 
cymbal. This means that a 5A stick on a 20" medium ride cymbal 
will produce a pretty well-rounded sound, while on a 22" 3000 
Heavy Ride it will likely "bounce off" a great deal and thus 
produce a higher, lighter sound. Conversely, a 2B stick will pound 
the daylights out of the 20" medium ride, thus producing a deeper, 
washier sound (since it's having more of an effect on the total 
cymbal) while it will "bounce off" the 3000 a bit more, and thus 
produce a more distinct sound. The key to getting the sound you 
want is finding the right stick to use for the given situation. It's 
possible to get very different sounds out of the same cymbal 
simply by switching sticks. This can save you bundles on your 
cymbal setup. 



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m— in 

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ffiu 1 bBl \X 

It's intermission at a 1988 Frank Zappa concert. It's a rather long 
intermission, too, because Zappa has tables set up in the lobby 
where people can register to vote, so I take advantage of the time 
to go backstage and visit Ed Mann. Things are rather hectic in 
the band's dressing room, where a 60 Minutes film crew is 
gathering footage of the band members and assorted wives and 
girlfriends, all of whom are doing their best to perform for the 
cameras in a fashion suitable to fulfill most people's ideas of how 
a touring rock 'n' roll band acts on the road. Ed and I retire to the 
hallway outside, where we engage in some very non-rock 'n' roll 
conversation about the rewards and responsibilities of parent¬ 
hood. Suddenly, Ed looks at his watch and excuses himself. "I 
have to change disks before the next half," he explains, heading 
for the stage. 

Change disks? Mann certainly didn't have to do anything like 
that the first time I saw him live with Zappa in '81. And yet, at 
the time, his percussion setup was very state-of-the-art by virtue 
of the fact that his mallet-keyboard instruments were fitted with 
pickups and he had a couple of Syndrums. Now, however, with 
the advent of MIDI, the setup has changed significantly to in¬ 
clude a KAT, two Simmons Silicon Mallets, a sampler, and vari¬ 
ous other devices designed to give him access to the widest 
possible variety of sounds within the smallest amount of space. 
Not that the setup is any smaller, though, or that it doesn't in¬ 
clude any acoustic instruments. Although the electronics have 
replaced instruments such as chimes and timpani, there is still an 
acoustic vibraphone, a rack of gongs, and a table full of shakers, 
ratchets, tambourines, duck calls—you name it. 

And during the show, Ed is running around within his setup 
just as much as he ever did, but he's playing even more than he 
used to. He doesn't have to drop his mallets to grab a rawhide 
hammer when he wants to play chimes now; he plays them from 
the Silicon Mallet. But while he's doing that with one hand, he 
plays vibe chords with the other, or shakes a tambourine, or 
smacks a suspended crash cymbal. I don't know if Zappa is the 
kind of guy who pays extra for "doubling," but with Ed Mann, 
he's getting about three players' worth of percussion in one 

"Technology has changed everything," Mann admits. "Look at 
timpani, for example. I had two acoustic timpani on the first 
Zappa tour I did in 1977, but I could only use them to play 
isolated parts of two or three notes, or to roll on the final holding 
chord of a tune. Plus, they took up a lot of room, and we could 
never get them miked properly. But now, with sampling, I can 
have timpani sounds spread out over a mallet keyboard, which 
means I never have to worry about tuning, and I can play fast, 
scalular runs that you could never do on a regular set of timpani. 
Plus, there are no miking problems. Everything just comes di¬ 
rectly out of the speakers. To be able to use timpani this way is 

"It's the same with chimes," Ed continues. "We carried chimes 
on every tour, but the pickups never really worked very well, 
and with microphones you don't get the real body of the sound. 
You get the attack, but then it dies away and gets lost in every¬ 
thing else that's happening on the stage. I sampled the chimes 
and all the other percussion instruments myself in a nice-sound¬ 
ing room using a Beyer M88 microphone into a Sony F-7 digital 
encoder. So now, whenever you hear the chimes, you hear the 
recording of them in that room, into the M88, etc. It makes for a 
very controlled sound." 

When using sampled sounds over a large range, it is often 
necessary to make multiple samples of the original instrument; 
otherwise, notes that are a lot lower than the original note can 
sound overly stretched out, and notes that are higher can start 
sounding like "chipmunk" music. But Mann found that he could 
go pretty far with a single chime note. "I stretched one chime 
sample over a major tenth," he explains. "It sounded completely 
natural. I sampled the D above middle C, so it went down a 
whole step and up a major ninth. I originally sampled all of the 


a kick 
you do 
for the 
first time: 
first gig, 
first time 
on the 
road, first 
time with 
a major 
So for 

my first 

album is 
that kind 
of experi¬ 

notes on the instrument; I chose the D be¬ 
cause it had the best attack, and it seemed 
to resonate the best in that room and with 
that mic'. It was simply the best overall 
sample, and it worked fine for the program 
where I needed a tenth. I did make an 
extended program that was three octaves, 
and for that I used two chime samples: the 
lowest note on the instrument and the high¬ 

"With some instruments you can only 
use one or two samples and it sounds fine,"' 
Ed says. "But with others you can't. With 
marimba, it starts to sound Squirrelly within 
about a fifth or sixth, so you have to 
resample. Drums often need multiple 
samples, too. But you never really know 
until you do it and listen back to hear the 
final result. Your ear will tell you if it needs 
to be multi-sampled or if one is enough. 

"Another interesting thing about the 
chimes," Mann adds, "is that the samples I 
used were not made by using a regular 
rawhide chime mallet, but with a piece of 
wood. For some reason, by the time the 
sound came out of the sampler and was 
reproduced the way we reproduced it, that 
sounded more natural than the samples we 
made with the real chime mallet. The one 
with the rawhide mallet was too harsh; I 
think it was too much for the microphone 
or the room. It just didn't sound the same 
when it came back out of the sampler as it 
did to my ear when I hit it in the room. 
When I struck it with a piece of wood, you 
could hear a lot more of the fundamental, 
and it sounded more like a real chime. I've 
used that sample a lot with Frank and on 
other recording projects, and people al¬ 
ways marvel at that sound. It was just a 
fluke. When you're making samples, occa¬ 
sionally you get those great ones, and some¬ 
times you get one that just doesn't come 
out as well as you thought it would. There 
are so many factors involved that it's hard 
to know why that happens." 

Besides the advantages of using samples 
for instruments such as chimes and tim¬ 
pani, technology also allowed Mann to have 
sounds that were previously unavailable or 
impractical. "Before," Ed says, "I could 
never have used something like Tibetan 
prayer bowls and gotten them to project 
over an ensemble. But with sampling, all 
of a sudden they're like big, loud bells. 
And one sound was a bunch of garbage 
cans. There was no way we could have 
had a rack full of garbage cans on stage. 
We didn't have room, and miking would 
have been a big problem. Or tabla—there 
was no way I could have thrown the mal¬ 
lets down, run over, picked up the tabla for 
a quick lick, thrown them down, and run 
back to play something else. But I was able 
to do all of these things from one pair of 
mallets. I had programs where a small por¬ 
tion of the keyboard was allotted to tabla, 
another part was chimes, another part was 
woodblocks and batterie-type percussion, 



not lose your point of view. Know the rea¬ 
son you play percussion to begin with, and 
what you can bring to that group of sounds 
from your experience. It's not just the sounds 
of percussion, it's also knowing how those 
sounds fit orchestrationally. Ultimately, you 
come up with something different than the 
average keyboard player would, the same 
way that a keyboard player would come 
up with better keyboard parts, because he's 
trained to think a certain way. So it's good 
to take advantage of the technology, but 
it's important not to lose yourself behind 
sounds that have become popular. If per¬ 
cussionists lost their identities trying to 
emulate another instrumental group, that 
would be an unfortunate side effect of the 
economic factors that affect musicians. 

"I almost got caught up in that myself at 
one point," Ed admits. "There was a period 
of time where I only wanted to play elec¬ 
tronics. But I reached a period of saturation 
with it, and now one of my favorite things 
to do is play acoustic marimba. After 
working with electronics a lot, you learn 
the freedom they give you, but you 
also learn the limitations they have. 
They don't have the same dynamic 
range, they don't have the same 
timbral qualities, and they are 
not nearly as expressive. You 
might be able to boost the 
overall volume of an elec¬ 
tronic mallet instrument 
to the point where it's 
louder than an 
acoustic marimba, 
but relatively 
speaking, the 
acoustic in¬ 
range. I don't 
think you could 
ever graph it out and 
say, 'Well, here it is. These 
are the limits.' Within the realm 
^ * of MIDI instruments, there are gen¬ 
erally 128 programmable steps that can 
be assigned to a given parameter such as 
velocity response. While that might sound 
like a lot, it's really not when compared to 
the dynamic range of most acoustic instru¬ 
ments—especially percussion instruments." 

That's one of the reasons that a lot of 
percussionists refuse to get involved with 
electronic technology at all. And yet, con¬ 
sidering all of the people who have tried to 
find practical ways to attach pickups to 
vibes and marimbas over the years so that 
they could participate in contemporary rock 
and jazz settings, it is surprising that instru¬ 
ments such as the KAT mallet controller 
and the Simmons Silicon Mallet have only 
enjoyed modest sales thus far. "Don't ask 
me why," Ed says, shaking his head. "I'm 
baffled by it. You would think that players 
would be eager to be able to address all 
the new sounds that are at their finger¬ 
tips—or mallet-tips, rather. Of course, when 
these instruments were first introduced, they 

and I could just stand there and get to all of it. Normally, it would 
have taken a couple of people to do that much. 

"The'bottom line of all this technology," Ed concludes, "is that 
my role as a percussionist changed. Before, I only had four melodic 
timbres: vibes, marimba, xylophone, and orchestra bells. Now, I 
have all kinds of samples of my own, plus I was MIDIed into 
Frank's Synclavier, and he has a whole world of samples. So my 
role changed in terms of orchestration. I wasn't just doing things 
that a traditional percussionist did; all of a sudden it was the 
percussionist's job to play a harp lick. And then there were these 
vocal samples—anything from [guitarist/vocalist] Ike Willis scream¬ 
ing like Sam Kinison to the Wicked Witch saying '...and your little 
dog, too.' These sounds would just come out of nowhere during 
the show. As the percussionist, I wound up triggering all 
these things, even though a lot of people on stage had 
MIDI. The keyboard players could have triggered 
the vocal samples; in fact, at one point I tried 
to get them to do it because I was run 
ning out of memory on my sampler. 

But they looked at me like I was 
crazy. 'We can't do that. 

We're keyboard play¬ 
ers. You're the per¬ 
cussionist. You do 

"And actually they 
were right," Ed con¬ 
cedes. "Even though 
MIDI is available to eve¬ 
rybody, it's right for the per¬ 
cussionist to play the tabla 
part because he knows how it 
should go. And it's also right for 
the percussionist to trigger the 
weird sound effects. When Wagner 
needed someone to hit an anvil, he 
didn't give it to the clarinet player; the 
percussionist did it. So triggering vocal 
samples kind of fell in line with the ever- 
expanding role that percussionists are here 
to fill." 

Discussing the percussionist's role can be a 
sensitive subject—especially among percussion¬ 
ists themselves. Many musicians see percussion¬ 
ists as "auxiliary" players who, at best, add a little 
color, and at worst, make everything sound like Spike 
Jones. As a result, many percussionists become overly 
defensive about their function. And in this age of MIDI, it 
has led some mallet players to completely abandon tradi¬ 
tional percussive timbres and focus on synthesizer sounds 
that make their mallet instruments sound like keyboards. 

Ed is well aware of this problem. "At times," he says, "I've felt 
that perception in other people's minds. It's a misperception, but 
if that's all they think a percussionist is there to do, then they don't 
bother to include you in their music because they think, 'Well, 
that's cute, but I don't need it.' We saw it happen in the late '70s 
and early '80s, when money was tight and bands were being 
trimmed down. The first guy to go was the percussionist, because 
that was always the thing people thought they could get along 

"If playing percussion is what you depend on for your liveli¬ 
hood, you start to get nervous about it," Ed says. "So when some¬ 
thing like MIDI comes along and you have the opportunity to 
address the same sounds as the guys who are working a lot—the 
keyboard players—then it's natural to want to be included in that 
group. 'See, I can make those sounds, too.' But if you go into it 
head over heels and take that on as your new identity, you leave 
everything behind that is special about being a percussionist. You 
end up becoming part of a generic group of musicians who all use 
the same sounds, and there's nothing very special about that. 

"So it's important to have some perspective on where you're 
coming from, and even though you're using this new technology, 



were prohibitive financially. Since then they 
have come down in price, so now it's proba¬ 
bly easier for people to afford. But I have 
talked with people who are very reluctant 
to get involved with it. I guess the only 
thing you can say is that they are purists 
who are not willing to dilute the art form in 
any way. And that's their right. There cer¬ 
tainly is nothing that is going to replace the 
acoustic vibraphone. Nothing is going to 
replace a marimba. And there's nothing 
that's going to replace a sampler. They are 
just different instruments. One doesn't X- 
out the other. They both should work to¬ 
gether, and that's how you achieve the most 
dramatic range of sound available. It's just 
part of the total picture. 

"Some people may be intimidated by 
the technological aspect of it," Ed consid¬ 
ers. "They might be afraid that they will 
have to spend most of their time twisting 
knobs and crunching numbers, and not 
actually playing the instrument. That can 
be true. I've gone through periods where 
I've added up my time at the end of the 
week, and 80% of it was programming and 
only 20% was playing. As a result, my 
playing would take a temporary nosedive— 
or at least I didn't move ahead. And that's 
not good; if you're a player you don't want 
to sacrifice that and become dependent on 
sequencers and that kind of thing. But I 
haven't found it to be a permanent limita¬ 
tion because ultimately it opens my ears to 
new things. By being able to address differ¬ 
ent timbres I wind up playing differently, 
and I see that as part of the growth cycle. 

"But that's just me," Ed says. "Other 
people may feel differently about it, and 
they have every right to do what they want. 
I would hope that enough players latch on 
so that the manufacturers are motivated to 
keep making these instruments, because if 
sales aren't good enough, then they won't. 
Many of the major electronics manufactur¬ 
ers are having a hard time these days. So 
we can be thankful for guys like Bill Ka- 
toski, who has this small, family-run busi¬ 
ness making KATs, and he's completely 
dedicated to the art of percussion control¬ 
lers. Without guys like that, we'd really be 
in the dark. Hopefully this thing will even¬ 
tually catch on, and someday you'll be 
able to go out and buy a mallet controller 
as easily as you can buy a keyboard instru¬ 

"You know," Ed muses, "a lot of percus¬ 
sionists are probably shocked that technol¬ 
ogy ever arrived at their door. I mean, look 
at the vibraphone. Why doesn't anyone 
make a vibe that goes below F? If they 
would at least go down one note to E then 
you could play with guitarists and have 
that note in common. But they only make 
vibes that go from F to F because that was 
the original design and it will never change. 
So ten years ago, when keyboard players 
were suddenly getting all of these new 
sounds, percussionists probably thought, 
'We'll never have all of this electronic stuff 
because manufacturers have never paid any 
attention to us anyway, so we'll concen¬ 

trate on all of the acoustic instruments.' Now, when a couple of 
manufacturers do apply the technology to percussion, it takes a 
couple of years for people to get turned around and start thinking, 
'Oh, the stuff is here for us. We can use it."' 

Ed Mann has certainly been one to use it, to the point of finding 
ways to adapt equipment to his needs in ways the manufacturers 
never thought of. For example, while preparing for the Zappa tour, 
he came across a device called The Mapper, made by Axxess 
Unlimited and marketed by Intelligent Music. Originally, the de¬ 
vice was intended to do the kind of thing described above: allow 
Ed to divide his mallet keyboard into different areas, and have 
different types of instruments grouped on one keyboard. "The 
Mapper can do a lot of different things," Ed says. "In fact, I've heard 
it referred to as a Swiss army knife for MIDI. Besides dividing the 
keyboard into different sections, another way I used it was to build 

up chord voicings on individual notes. That way, I could be play¬ 
ing a slow vibraphone melody with one hand, and with the other 
hand I could play complex chords on the Silicon Mallet by just 
hitting one note. And the chords could be made up of synthesizer 
sounds combined with a single chime note from the sampler. 

"But what is really novel is the switching system I worked out. 
After I had all of the MIDI program information organized, I still 
had to come up with a way to get from one group of sounds to 
another, or into the Synclavier, without having to drop the mallets 
and press a program number. So, using The Mapper, we came up 
with a system whereby I could step on a footpedal, and that would 
cutoff all sound and put the keyboard into switch mode. Middle C 
became the number 10, D became 20, and so on. As soon as I hit 
one of those, it changed again so that C became 1, D became 2, 
etc. What that meant was that if I wanted to go to, say, program 35, 

I would step on the footpedal, hit E and then G, and the sounds 
would change from chimes, timpani, and woodblock, to strings, 
vocal samples, and tabla, or whatever. And it happened fast; I 
could hit the two notes almost as close together as you would play 
a flam, and it would change instantaneously. 

"The guys at Intelligent Music were pretty amazed by that. They 
helped us—myself and the technicians, Bob Rice and Chuck 
Becker—work out the system when I told them what we wanted to 
do one night at a rehearsal. They didn't have to burn any new chips 
or anything; they just had to type some numbers into the program. 
You can write hexadecimal code into The Mapper, which allows 
for this kind of unorthodox programming." 

Hearing Mann discuss electronics at this level, one might as¬ 
sume that he has some type of engineering background, or at least 
that he spent a lot of time learning about electronics in college. Not 
so. During his years as a student at CalArts, Ed spent major portions 
of his time studying the mridangam—the principal hand drum of 
South Indian classical (Karnatic) music. That's about as far from 



Photo by Leslie Burke 

"A lot of percus- 
at their 

1. Electronics Rack#1 

Same as Zappa setup 

2. Electronics Rack #2 

Same as Zappa setup but without SDX 

3. Deagan vibes with transducers 

4. Simmons Silicon Mallet (3 octave) 

5. Percussion Rack 

1 Paiste 14" Short Crash 
1 Paiste 2000 series 20" China-type 
1 Paiste 2000 series 8" splash 

1 Paiste 3000 series 8" bell 

2 layered, old, cracked cymbals 

3 LP cowbells (high, medium, low) 
2 Remo Spoxe (5.5" and 9.5") 

1 Chinese temple block 

6. Remo Timbales 

7. Gon Bops conga and tumba 

8. Paiste Sound Creation Cong #4 (24") 

Hand percussion (on tops of racks 1 and 2): 
homemade shakers, Remo tambourines, JAG 
talking drum and Toke bell, LP bell tree. 

Microphone: Beyer M88 dynamic 

Speakers: 2 Electro-Voice model 100S 

Sticks and mallets: Vic Firth 5A sticks; Vic Firth 
M2 and M3 mallets 

Setup designed and built with Chuck Becker 

"On the other hand, plenty of people become accomplished 
players without going to college, so college is just one way of doing 
it. These days, it might be financially prohibitive; do you want to 
spend $50,000 for four years in a theoretical environment? Maybe 
not. Maybe you should just go out and start getting professional 
experience as soon as possible. But then again, maybe you are the 
type of person who needs three or four years of concentrated study 
before you can be ready to be professional. That varies from indi¬ 
vidual to individual. 

"One thing I've noticed is that the nature of the percussion stu¬ 
dents I've seen is changing. Less and less are coming in as all¬ 

electronics as one can get. 

"I really should get back into that," Ed laughs. "And I'm not sorry 
that I spent all of that time playing mridangam. It was time well 
spent. For a real all-around percussionist, it takes years to develop 
proficiency on all of the instruments. Electronics is just one aspect 
of it. Hand drums are another aspect, and they are really important, 
as are each of the aspects of percussion. To me they are all part of 
the same thing." 

But for students entering college, certain decisions have to be 
made. Should they view college as a place to prepare for the real 
world? If so, then perhaps they should be taking courses in elec¬ 
tronics and in how to record a jingle. Or should college be a place 
where you can forget about the real world for a few years and 
concentrate on the art? As we enter the '90s, would Mann encour¬ 
age someone who wanted to pursue a course in hand drumming for 
four years, or would he encourage a more "modern" course of 

"I don't know," he says, after a long pause. "The more years I 
spend teaching at CalArts and hanging around the college environ¬ 
ment, the more I am completely confused by it. I don't know what 
the real purpose of college is. I suppose it depends on the individ¬ 
ual. For me, the best part of going to college was being exposed to 
things I had never seen or heard before, and to be able to experi¬ 
ment in a safe—non-professional—environment. Also, it was nec¬ 
essary for me in terms of the fact that I didn't own a marimba or 
timpani or any of those instruments. So I 
needed to be in a place that gave 
me access to all of that 

Ed Mann 



Photo by Leslie Burke 

sionists are 
shocked that 
ever arrived 

1. Electronics Rack#1 

1 Axxess/Iintelligent Music The Mapper 

2 Yamaha SPX 90s 

1 Oberheim Matrix 6R synthesizer 
1 Oberheim DPX-1 sample player 
1 Akai S900 digital sampler 
1 Hill Multi mix 
1 Alesis Midiverb II 
1 Alesis Microlimiter 
1 Alesis Micro Cate 
1 Alesis Micro Enhancer 

2. Electronics Rack #2 

1 Simmons SDX sampler/workstation 
1 Simmons SDE synthesizer module 

3 Simmons MTX9 Percussion Modules 
1 Korg KMX 722 Line Mixer 

1 Korg SDD 300 Digital Delay 
1 Ibanez MSP 1 000 multi-signal processor 
1 QSC model 7200 stereo power amp 

3. Cymbals and Gongs Rack \ 

1 pair Paiste 500 series 18" Band cymbals 
1 pair Paiste 2000 series China-type cymbals 
1 Paiste Sound Creation Cong #2 (20.5") 

1 Paiste Sound Creation Gong #4 (24") 

1 Paiste Sound Creation Gong #7 (20") 

1 Paiste 30" Earth Gong 
1 Paiste 2000 series 8" splash 

1 Paiste 3000 series 8" bell 

3 Wuhan opera gongs (11", 13", 16") 

2 Paiste gong mallets 

4. KAT MIDI Mallet Controller (1 octave) 

5. Six Simmons SDX trigger pads 

6. LP bell tree 

7. Ross orchestra bells 

8. Deagan vibraphone with Deagan transducers 

9. Hand-percussion Table 

1 each: Acme siren, police whistle, duck 
call, crow call, goose call, cuckoo call, 
nightingale call, quail call, Carroll Sound pop 
gun, taxi horn, ratchet 

Several of each: homemade shakers, Remo 
tambourines, Ludwig tambourines, LP cowbells, 
Brazilian samba whistles and bird calls, air 

LP plastic maracas 
LP Clackers 

10. Simmons Silicon Mallet (4 octave) 

11. Simmons Silicon Mallet (3 octave) 

Microphones: Beyer M500 Ribbon Microphone 
and M88 dynamic microphone 

Sticks and mallets: Vic Firth 5A sticks; Vic Firth 
M2and M3 mallets 

Setup designed and built with Chuck Becker 

around, general 
players who are in¬ 
terested in getting into 
the whole thing. More and 
more are coming in as spe¬ 
cialists. It's not just with music; in 
general, people seem to be deciding 
what specific career they want to pursue before they even enter col¬ 
lege. It's an '80s thing. 

"I don't know how accurate my perception of this is," Ed says. "I 
only see one very small group of students who come to one very 
esoteric arts school, and I'm only involved with the school peripher¬ 
ally. John Bergamo could probably provide more information about 
this. From what I've seen, he does his best to free the students of any 
preconceived ideas they may have about percussion playing and 
music in general, and eventually get them into musical situations 
they probably never dreamed of. That's pretty valuable if you can 
afford to do it—take some chances and delve into some new areas 
to help you decide what you like and what you don't like." 

And perhaps that's the connection between mridangam and elec¬ 
tronics. When Ed first came to CalArts, he was taught to be open to 
new possibilities, whatever they may be. "I had no idea what a 
mridangam was," he says, "or gamelan, or any of that stuff. It all 
kind of hit me right in the face. So yeah, that could be true. My mind 
was opened up to exploring all the possibilities. Compared to mri¬ 
dangam, electronics weren't all that mysterious. There were a lot of 
other people involved in it that you could talk to about it, and all of 
the instruments came with manuals." 

Another mind-opening experience for Ed was his involvement in 
the CalArts percussion ensemble, which evolved into the Repercus¬ 
sion Unit—a group that has continued to this day. They released a 
critically-acclaimed album on CMP records in 1988, titled In Need 
Again, and have recently been in the studio preparing their next 
release. "We went to Germany in May and did four days of track¬ 
ing," Ed explains. "Whereas In Need Again was made up of actual 
composed pieces, this one will consist of a different kind of material 
that we've been developing ever since we first played together. It's 
completely improvisational—not rehearsed, not arranged. Basically, 

continued on page 52 

Ed Mann 

(Zappa Band 
1988 ) 



One look at Steve Riley and there's no doubt that he's in a heavy metal band—the long 
black hair, the black painted fingernails—but there is an abundance underneath the 
exterior that is impossible to know until a lengthy conversation has been had. First off, 
Steve's passion is jazz, and if the truth be known, he wishes that genre of music were 
financially lucrative for him. That's the other thing about Steve that is interesting: He's 
been able to see heavy metal music as a job—one he enjoys, but a job nonetheless. 

In the thickest of Boston accents, Steve talks about the several record deals he's had 
throughout the pursuit of the ideal situation. From Keel to WASP, and now with L.A. Guns, 
Steve has found his niche in heavy metaldom. He's made money and lost money, had high 
expectations and had his hopes dashed, meeting with large doses of the reality of 
disappointment that goes with the music business. And he has discovered that it is a 
business. Openly, he shares the lessons learned and insights gathered through his many 
trials and tribulations. 


RF: I understand that you are a heavy jazz 

SR: Big time. I started off playing jazz. My 
mom and dad turned me on to Gene Krupa 
and Buddy Rich when I was growing up in 
Boston. I was about four or five years old. I 
saw The Gene Krupa Story with Sal Mineo, 
and that was that. I bought a lot of Krupa 
and Buddy Rich duo records, so I started 
playing drums before Ringo and all of that. 
It was Ringo who turned me on to the 
whole rock scene, but I got my feet wet 
with jazz. 

RF: How were you learning to play? 

SR: By myself. I used to live in the projects 
in Boston, and a guy who lived across from 
us gave me my first pair of sticks and started 
showing me how to play a little bit. I did 
the marching band trip when I was six and 
seven. They taught me a couple of rudi¬ 
ments and stuff like that. 

RF: So when you were listening to records, 
what were you doing? 

SR: I was zeroing in on what the drummers 
were doing. I only had a snare drum, and 
then I got a hi-hat and then a kick drum. 
Because there were so many kids in my 
family, it was one piece at a time. But I was 
really zeroing in with my ear. I learned on 
the snare first, and then after the kick and 
hi-hat, I really didn't need much. 

Then I started listening to Ringo, Charlie 
Watts, John Bonham, and 
Ginger Baker. That 


was when I started being able to play with 
some kids on the block. I slowly pulled 
away from jazz—always listening to it, but 
not playing it much, except on my own. 
RF: Do you feel that jazz has helped you 
along the way? 

SR: Without a doubt, because coordination 
in jazz is so much more critical. For any 
drummer who can take the time to listen to 
some jazz drummers, the wealth that can 
be picked up is just insane. But mostly, it 
gets coordination down. Rock drumming 
really does seem manual after that because 
it is just so 4/4, straight sitting on the beat. 
Jazz is so free-form and coordinated that 
every drummer should do it. 

RF: What was your first professional gig? 
SR: It was with a band in Boston in the 
'60s, at a disco called the Ball Of Confu¬ 
sion. I was about 12 years old, and I had to 
stay in the kitchen when the set ended. The 
rest of the guys were old enough to drink 
beer. I was always hanging with guys much 

older than me, like a five- or six-year differ¬ 

RF: When did you decide to make drum¬ 
ming your career? 

SR: I was so impressed by the drums them¬ 
selves, I wasn't even thinking about ending 
up in a rock band. I was thinking mainly, 
"Someday I'm going to be able to play as 
good as Buddy Rich or Gene Krupa." It 
didn't change until I started doing those 
gigs at 12 or 13, thinking, "Well, maybe I 
could do this for a living." But when I was 
first playing, I was just consumed with 
wanting to learn. 

RF: When you finally figured that you might 
do this for your livelihood, what was the 

SR: I was mostly concentrating on playing 
every day. That's what I still concentrate 
on, and that's what I tell kids who come up 
and ask for suggestions. It's just, "Keep play¬ 

So I played with all the club bands in 
Boston, doing cover material: Stones, 
Beatles, Cream, Blind Faith—that late '60s 
stuff. That's why I am very impressed with 
Charlie Watts and Ringo; they came up 
with the beats. They weren't flashy, but 
they never dropped a beat; they were al¬ 
ways there. When somebody has that many 
hit singles, you have to look at the drum¬ 
mer; Charlie and Ringo were playing that 

RF: Did you think you might have to leave 
Boston in order to succeed? 

SR: The last couple of years of high school, 

I knew I was going to have to go, and I was 
figuring out how I was going to break it to 
my folks. They were very supportive, obvi¬ 
ously, because they let me play in their 
house every day for years, so they knew 
something was going to come down. But 



they wanted all of 
us to go to college. 

My dad wanted to 
send me to the New 
England Conservatory, 
and I could have taken that route where 
I'd learn how to be a real learned mu¬ 
sician, to read and write charts and do 
that kind of a trip; or I was going to 
have to take this trip that was a little 
harder and more gritty. When I was in 
my senior year, a good friend of mine, 
Frank Dimino, was in Angel, and it 
was the first time I saw anybody get¬ 
ting out of Boston, playing the clubs 
and cities outside of Boston. So as soon 
as I got my diploma, I was gone. I went to 
D.C., then New York, then back to D.C., 
and then I started moving across country. 
RF: What was happening inside your head 
while you were doing all this? 

SR: I was totally relentless. I still am. I 
won't let anything bring me down or allow 
any roadblocks to freak me out. I got past 
that. At first I thought New York was the 
music center, and I realized very quickly 
that L.A. is really the center for sessions, for 
the studios, for meeting the managers and 
record producers. So my objective was to 






end up in Los Angeles. I 
knew I was going to go 
to Chicago, Indianapolis, 
back to New York and D.C., 
and even to Salt Lake City. 
RF: What were you doing while you 
were living in these cities? 

SR: Playing in different bands. I've 
been in a few in my time. I'm talking 
about at least eight cities where I set 
up shop. Obviously I would call 
ahead, or they were turned 
on to me through 
other musi¬ 
cians, and 
they'd make 
an offer. I 
ended up in In¬ 
dianapolis in '76 with Roadmasteron Mer¬ 
cury Records. That was my first album, 
though I had done tons of demos at the end 
of the '60s and early '70s all over Boston, 
D.C., and New York. There were strange 
demos, rock demos, and fusion demos, 
which were the most fun. 

If I had stayed in Indianapolis, though, I 
don't think I would have been as hungry. I 
would have really calmed down and laid 
back, figuring, "Hey, we're doing another 



record, that's fine." So it was a big move 
when I came to LA. There was a guy wait¬ 
ing for me who had been in a band on 
Casablanca. He was no longer with them, 
but he said he had a whole bunch of con¬ 
nections and said, "Wanna take a stab at 
it?" It was '77, and I never left. I moved 
back to Chicago to play the scene back 
there, but I always kept my place here. 

So it turned out that he had slight con¬ 
nections, which was good enough to just 
get my feet wet, but it was still really hard 
times. From '77 to '79, it was pretty diffi¬ 
cult. I did some sessions and demo work 
around here and played in some club bands, 
but it was tough. I would suggest to any 
musician coming to Los Angeles to make 
sure there is at least something waiting for 
you, some kind of setup. I did it the hard 
way. I thought there was something wait¬ 
ing, but there really wasn't. But I grinded it 
out for two years, doing everything, play¬ 
ing and living in a commune—all of that 
thing. I could get by on five bucks, but I 
was still playing every day. I had my drums 
set up somewhere every day. Then '79 

by Robyn Flans 



ing for that time when I've 
made enough money so I 
can do a solo LP and not 
worry if the thing sells, and 
hire musicians like Stanley 
Clarke, Jeff Beck, and a key¬ 
board player like Chick 
Corea, and just go for it. I 
know I can write material 
for an album like that be¬ 
cause I'm really into it, but it 
will be a while before I get 
there. That's where I'm 
headed, though. It would be 
nice not to have to worry 
about sales. 

RF: Let's get back to the 
trudge up to artistic expres¬ 
sion. The Steppenwolf thing 
ended, and then what? 

SR: The lead singer for that 
was Tom Holland; we both 
knew each other from those 
two years in L.A. We came 
back to Los Angeles, and he 
called me and told me about 
a band called the Boyzz from 
Illinois. They had been 
signed already, but they were 
re-forming and changing 
their name. They took the "oy" out and 
called it the Bzz, which was a difficult 
name to pronounce. But he called and said 
they were close to a deal with CBS, and I 
joined the Bzz in '81. I moved to Chicago, 
although I kept my apartment here in L.A., 
and I did that for about a year and a half. It 
was the first time I realized there were other 
people involved with our careers. If you 
don't have a good manager, you're screwed. 

I think the band really had a chance to do 
something. There was a strong single, and 
the producer, Tom Werman, was gung ho 
behind the band and so was the label, but 
there wasn't anybody manning the phone, 
a killer manager. A lot has to do with that, 
and it was an important realization. The 
Bzz died slowly but surely, and I came 
back to L.A. around '84 and got back into 
doing some sessions. 

RF: How did you get into sessions? 

SR: I just did it on my own. I put an ad in 
every trade, I answered every ad, and per¬ 
sonally went to check everything out. If 
you just check them out long enough, you'll 
find something, some kind of session, even 
if it's not great paying. It will put you be¬ 
hind a kit to play. That's the main thing. 
Living in an apartment, I was trying to find 
a place to play, so I'd go to these places 
where they said they were just putting to¬ 
gether bands, or doing demos where they 
could slide me 50 bucks. That was the 
beginning of'84, and I was doing this one 
session, and the bass player said, "I know 
of this gig, and you should call the lead 
singer and tell him you're in town and 
you're looking for a gig." He was talking 
about Ron Keel of Keel. I asked the bass 
player, "Does he have a drummer?" He 
said, "Yes, but I think he wants to get rid of 
him. He's already done an independent 

rolled around and the original bass player 
in Steppenwolf, Nick St. Nicholas, called. 
Something happened with that band where 
all five members owned the name, so when 
it broke up, each member took out a band 
on his own saying it was Steppenwolf, 
which was pretty strange. But he asked me 
to come out and offered me $ 100 a show 
to play every night every week with an 
extra $100 a week, which was going to be 
like $800 a week, and in '79 I was think¬ 
ing, "Whoa!" Their drummer had split real 
quick, and they had this whole tour booked. 
I stayed for two years. I was glad to be in 
the money all of a sudden, but at the same 
time, I knew it was a dead end. I was doing 
an oldies show. It was all old Steppenwolf 
hits, like "Magic Carpet Ride" and "Born 
To Be Wild." The money was great, but at 
the end of the second year, I wanted to be 
branching out. 

RF: What was it you were aiming for, what 
was the goal along the way? 

SR: I've always been into musicians be¬ 
cause of what I was listening to at a very 
early age. I've always been into "no holds 
barred musicians." I really respect Jeff Beck 
because he never tires himself out playing 
one kind of music. He keeps changing. He 
went from blues to rock and fusion, and he 
keeps going. I have a ways to go before I 
get recognized like that, but I would like to 
model myself after someone like Jeff Beck, 
where I could keep going from style to 
style, not being just a rock drummer or a 
fusion drummer. I would like to do a coun¬ 
try gig, a blues gig, and everything. The 
niche I'm in right now is definitely the 
bombastic heavy drummer, and I can do 
that so easily. It's easy to do if you've been 
playing drums as long as I have, and it 
should be an easy gig. But I'm still search- 

A. 6 1/2 x 14 bell brass snare 

B. 13 x 14 rack tom 

C. 16 x 16 floor tom 

D. 16 x 18 floor tom 

E. 16 x 26 bass drum 

F. 26" timpani 

Cymbals: Zildjian. 

1. 15" heavy hi-hats 

2. 20" heavy crash 

3. 20" heavy crash 

4 . 22" ping ride 

5 . 19" heavy crash 

6. 20" heavy crash 

7. 48" gong 

Hardware: Drum Work¬ 
shop hi-hat and bass drum 

Heads: Remo CS (black 
dot) heads on snare drum 
and tops of all toms (no 
muffling), Remo Ebony 
Ambassadors on bottoms 
of toms. Remo coated 
Ambassador on bass drum 
batter head, and Ebony 
Ambassador on front. 
(There is one strip of felt on 
each head and a 1" piece 
of foam in the bottom of 
the drum for muffling.) 
Sticks: Pro-Mark 2B model, 
played with the butt end. 

DrumsetTama Artstarl 1 
in custom green sparkle 



album, and he's getting ready 
to do another album for A&M 
with Gene Simmons produc¬ 
ing." So I called Ron Keel 
and said, "You should kick 
your drummer out. I'll blow 
him out the door," or some¬ 
thing like that. I got really 
ballsy on the phone. 

RF: Couldn't you have 
rubbed him the wrong way 
with that kind of arrogance? 

SR: Yes, but I just went for it. 

The bass player had said he 
knew I would get the gig, so 
I should act like it. So Ron 
said, "My drummer is out of 
town for a couple of days, so 
why don't you come by to¬ 
night?" I stuck my drums in 
the van and went right over, 
and I got the gig that night. 

They played the album for 
me, and I don't know, maybe 
it's from playing so long, but 
I have learned how to lock 
into a song immediately. I 
worked on that for a long 
time, how to sit and listen to 
a song and be able to play 
right away. So I listened to it 
and played it, and it was pretty basic metal. 
Metal was very big right then, and it was 
right up that alley. It showed me that if you 
think you can do it, call up and say, "I can 
do that. You should do yourself a favor and 
let me come over and play for an hour." Be 
a little cocky about it. Get behind yourself 
a little bit. 

RF: The story goes you had something like 
three days to learn this record? 

SR: Yes, it was strange. I got the gig that 
first night, and Gene Simmons came in the 
second night. I knew Gene from back in 
77 and 78, because the band I was with 
was trying to get him involved. It never 
worked, but I had met him and we had 
become friends. So that was really cool 
that we knew each other, and he said, "Are 
you going to be able to do this?" We were 
supposed to go in in a few days and I said, 
"Yes, I'll be ready." 

RF: What did you do to get ready? 

SR: I went home and listened to the tapes 
over and over again. I went into rehearsal 
each day for the next few days and I did it. 
They didn't have a big budget, so we went 
into the Record Plant, and Barbra Streisand 
was in the room we were supposed to be 
in, and she was going overtime. I kept look¬ 
ing at the clock because I knew they wanted 
me to do my tracks boom, boom, boom, 
right in a row. I didn't get in there to get my 
drum sounds until about 1:00 in the morn¬ 
ing, so around 3:00 in the morning I did a 
quick soundcheck and I did all my tracks 
that night—11 tracks right in a row. I grinded 
it out. It was me and Gene in there, and I 
even did four or five tracks without guitars 
in there. I knew I had to do it, though. 

RF: Which album was that? 

SR: That was The Right To Rock, the first 

album they did. Gene and I were doing all 
the backgrounds on it too, because Gene 
sings great, obviously, and he said I had a 
good range to sing a lot of the backgrounds. 

I was supposed to sign contracts for band 
and management with Keel the next day 
after doing the backgrounds, when I got a 
call at the Record Plant while we were on 
a break. The guy said, "I can't tell you who 
I am." And I said, "Why?" And he said, 
"Because I know you're in there doing this 
album right now with Gene and Ron, and I 
don't want to screw that up." Here I am in 
the lounge area with the whole band there 
and he says, "How would you like to do a 
world tour with a world-class act?" I said, 
"Who are you talking about?" He said, 
"Believe me, it's a world-class act and it's 
going to be big." I said, "I'm supposed to 
sign management contracts tomorrow, so 
you'd better tell me who you are." He said, 
"Why don't you call me when you get 
home from the studio." It was Blackie Law¬ 
less. He told me he had heard through the 
grapevine how I came in and did the Keel 
album on such short notice. He told me 
they had just let their drummer go after 
doing the first album, and they had two 
weeks for some drummer to come in, get 
the look down, learn the whole show, and 
start to fit in before going to England. 

RF: Was he offering you band member¬ 

SR: He said it would be on a contingency 
basis. I would do the world tour, and we'd 
evaluate it with management and every¬ 
one, and I'd become a member when we 
got back to the States. That didn't sound so 
good; I would have rathered they just em¬ 
brace me, but that wasn't going to happen. 
So all of a sudden I had two cool things 

happening. It looked like a good package 
with Keel, with Simmons and Danny Gold¬ 
berg running the show. I had done a gig 
with them, too, in that short span, and they 
had gone over really well. There was a big 
to-do about them. Then Blackie called and 
I made the decision to do the WASP thing. 
I had seen WASP two weeks before that, 
and I knew they were missing something. I 
knew they had something killer happen¬ 
ing, but there was also something missing. 
They made it clear that it was the drum¬ 
mer, because they let him go. I saw the 
press they were getting, and they told me 
about the record deal and showed me their 
offices, and it was a step up from what Keel 
was doing at the time. As a career deci¬ 
sion, I couldn't do anything but go with 

When I joined WASP and went on that 
tour that year, the Keel album came out. I 
got a copy sent to me, and there were the 
five band members with the new drummer. 
The last thing was "Duane Miller, drums 
and vocals." Underneath that in small print, 
it said "Steve Riley, additional drums and 
vocals"—and I did the whole album. I felt 
good about the fact that I came in and did 
the job they asked me to do. They wanted 
to do this album in a certain amount of 
time, and I felt good about that, which was 
the saving grace of the whole situation. But 
it was a career decision. Nobody is going 
to help you if you don't help yourself. I 
have friends who have turned killer gigs 
down thinking the band they were in was 
going to happen. That loyalty thing is great 
to a certain point, but you have to worry 
about screwing yourself. 

RF: So you joined WASP with two weeks to 

confrrTLitff/ r>n 70 



Photo by Lynn McAfee 


Alvin Stoller 

has done it all on drums. 

Alvin Stoller at the 1939 World's Fair, where he won the Gene Krupa 
Drum Contest. Krupa is at right of photo. 

Star of the big bands, jazz player, show percussionist, 
recording musician, and studio man for films and television, 
he has a background in music that exceeds most others, in depth and variety. 

The love affair with drums began for Stoller when he was a small boy tn Brooklyn in the 1930s. 

His intensity of interest grew as he got older. 

The instrument ultimately gave his life depth and purpose 
and provided a means for making a good living, 
but money didn't enter into things when Stoller was a youngster. 

Just playing was the thing. 

by Burt Korall 





Photo by Jaeger Kotos 

vocal. The other side was 'Liza,' an instru¬ 
mental on which Chick opens up. His sound 
and approach caught my attention. He did 
so much for the band; his time was firm, 
and his solos were a natural extension of 
the music. He had great technique. But it 
was his feeling that got to me. As far as I'm 
concerned, feeling is one of the key as¬ 
pects of drumming, particularly jazz drum¬ 

"During that period, I also picked up a 
lot by listening to remote broadcasts by the 
big bands from hotels, ballrooms, and clubs. 

They came from all over the 
country, and that added to the 

It was inspiring to be in 
New York in the 1930s, when 
Stoller got his start as a drum¬ 
mer. The ambience provided 
great motivation for the young 
musician. "Music was in the air 
in New York," Stoller reflects. 
"It was everywhere. The bands 
appeared at the presentation 
theaters—the Paramount, the 
Strand, the Capitol, the Roxy. 
Harlem and Greenwich Village 
were filled with music and musicians. It 
didn't matter what part of town you were 
in. Music was there to be enjoyed. And it 
was real. 

"For the aspiring drummer, there also 
were the drum shops on Manhattan's 48th 
Street, in downtown Manhattan, and in 
Brooklyn. They were an inspiration. As soon 
as I walked into one of them, I was drawn 
to the drums and cymbals. I couldn't help 
but touch them. Generally I used any ex¬ 
cuse to buy something—a pair of sticks or 



As soon as he heard drums, he gave up 
piano lessons and turned all his attention 
to percussion. "I began banging on every¬ 
thing around the house. I drove my parents 
crazy," Stoller remembers. "I even took the 
stays out of my mother's corset and put 
them together with rubber bands so I could 
use them like a pair of brushes. 

"My mother spoke to my piano teacher, 
who suggested I take drum lessons. That 
would determine whether my love was le¬ 
git and whether I had talent for the instru¬ 
ment. I began studying with Willy Kessler, 

who played in theaters around town. We 
were together for three years. He was a 
beautiful man and a great teacher. He not 
only gave me lessons, he gave me on-the- 
job training. I would sit in the pit with him 
) at the theater and watch while he played a 
show. It was so helpful to me later when I 
did stage shows and TV variety programs. 

"I also learned by listening to records. 
Chick Webb was my first influence. My 
brother Teddy and I bought the Webb rec¬ 
ord 'A Tisket A Tasket' for Ella Fitzgerald's 

Above: Paul Smith 
(piano), Benny 
Goodman (clarinet), 
and Stoller perform¬ 
ing in Salt Lake City. 



brushes. So when I went home, 

I retained the good feeling I 
had in the store. In addition, a 
drum shop was a place where 
you could talk drums with oth¬ 
ers who loved to play. That 
made you feel a part of the 

"I didn't become active as a 
drummer until I was 12.1 would 
just listen to the bands rehearse, 
occasionally play, look at the 
drummers—that sort of rou¬ 

Stoller's first major job as a 
professional—he was going on 13—was at 
a resort in the Catskill Mountains in up¬ 
state New York. He worked there for a sum¬ 
mer, sleeping in the theater—the casino— 
on the premises, as did the rest of the staff 
of musicians and entertainers. He learned 
how to play a show and how to back vari¬ 
ous kinds of performers. This, too, would 
be very helpful later on. 

When he returned home to Brooklyn, he 
took the drum chair in his 
brother Teddy's big band. 

"Teddy was the pianist; we 
used to play Count Basie stock 
George,' 'Jumpin' At The 
Woodside,' 'One O'Clock 
Jump'—and Benny Goodman 
things as well," he explains. 

"We'd work social clubs in 
Brooklyn, dances—we used to 
have a ball. 

"There were a lot of great 
young musicians coming along 
at that time in Brooklyn and 


<^>- 0-0 

Manhattan—trumpeter Tony Faso, saxo¬ 
phonist Sam Marowitz, guitarist Chuck 
Wayne, my pal Shelly Manne. We all were 
very enthusiastic. If one of us got a good 
job, we were so proud. I remember when 
Shelly got a job with Bob Astor's band, then 
moved on to Bobby Byrne's band at the 
Pennsylvania Hotel. It was a thrill." 

Stoller won a drum contest at the New 
York World's Fair in 1939. About 300 drum- 

Above: Stoller at 
the 3 Deuces Club 
on 52nd St. with 
(left to right) 

Sandy Block, 

Hank Jones, and 
Charlie Shavers. 

Below: Stoller on 
the movie set for 
The Fabulous Dorseys. 

continued on page R2 


This Is Tomorrow" 


by Ed Mann 

R ecently some friends and I recorded an album for CMP 
records called Get Up. "This Is Tomorrow" is the first 
tune off of Get Up and is the subject of this Sound Supplement. 

Compositionally, "This Is Tomorrow" loosely reflects several 
different influences, including South Indian drumming and rhyth¬ 
mic composition, rhythm "phasing" (a la composers Terry Riley, 
Steve Reich, Philip Glass, and others), and mbira and kalimba 
music from various parts of Africa. The final interpretation is 
within the context of electronic/acoustic pop-jazz. 

The seed of the tune is a 19-bar improvised rhythm/melody that 
was originally drummed up on a KAT mallet controller into a 

computer. (This was for observation and parts 
printing only; there is no machine sequencing 
involved in the final recorded performance.) 

In order to turn this rhythm/melody into 
material for a "tune," the "master lick" is bro¬ 
ken up into fragments, which gradually increase 
in size and eventually lead to the entire 19-bar 
phrase. (See fragment markings, Ex. A.) An eight- 
bar condensed version (Ex. B) and an ending 
pattern (C) follow. 

The players use these fragments improvisa- 
tionally to move through the tune in kind of a 
"call and response" motion. Pattern B is played one bar out of 
phase between the mallets and guitar to create a temporary (safe) 
hypnotizing effect. Pattern C provides a steady rhythm ostinato for 
the horns to play over. The only compositional indication to the 
horns from the composer is to create contrast by playing long 
tones and to build with the drummer. At this point it's important to 
mention that all of the individuals who participated in this record¬ 
ing contributed creatively to the final performance. Thank you, 

I hope you enjoy listening to this music as much as we did 
creating it. 

Example A 



ft! MD Sound Supplement &S§ 

(frag 6, 7, and 13- 

>(end frag 9>- 

{frag 5 

yJ? J ? J ? J i=ii 

j ILL . i|i | j | 

it ii 

F r F F W ** * M 

fm " S *7 m m m */ 


r r j # 7 » v j 

If 7 a * * a 1 7 na^z 


^ j ? a ^ 7 m 7 7 j 7 

>(end of it) 

(frag 12- 



Drummers: If you would like to play this figure you may do so in 
several different ways: (1) Play the actual rhythm on a single drum 
or pad, hand to hand and with mixed sticking (your own). (2) Play 

the rhythm/melody around a drumkit, simulating as best as pos¬ 
sible the melody and range by using different drums and playing 
techniques. (3) "Imply" the rhythm/melody underneath a constant 
time (ride) figure. 

Example B 


/L t 

j% v 

% J V 

r J ^ 

— ' 

ffs " HI m 


* w 

^ » J I 

1 *7 * # 

m * * X *7 m 


1 1 

=m _ l m w ^ 

1 7 1 

* * w d 7 

d d m m ~ J 

Example C 






p n n \ n- . 


] J i J i 

j J-J 1 




£ Style And Concept by Chad Wackerman \ 

M any drummers have asked me how one creates a style. 
That's a very difficult question to answer. Most of the 
time, style seems to be a natural occurrence caused by the type of 
music you have listened to, the type of things you dislike, and the 
attitude and personality you put into your playing. With many 
musicians it is not anything that is preconceived: They simply play 
what they like to hear. 

One truly great thing about playing music is that it changes all 
the time, and everyone makes it sound different. You can hearten 
different drummers play the same pattern, and no two will sound 
exactly the same, no matter how simple the pattern. Like any art 
form, what we consider to be "good" is a very personal thing. 
What I might consider to be a brilliant performance you might 
consider worthless. I, however, prefer that attitude to that of some 
sports, where whoever is fastest is best. 

Since in music faster doesn't necessarily mean better, we listen 
to other things musicians play to decide what we like. It is their 
style that separates them. Some people have extremely distinctive 
styles. You know immediately who is playing without having to 
see them. 

What makes them sound so distinctive? Some people relate it to 
the type of instrument and tuning they use (Tony Williams' ride 
cymbal, Stewart Copeland's snare drum, etc.). That's not it, though. 
A friend of mine who is a great guitarist came to an Allan 
Holdsworth rehearsal, and Allan let him play his guitar through his 
rig. Not only did the notes sound different, but it sounded as if all 
of the equipment had changed as well! 

So it's obviously something besides equipment; it's what you 
play and what you don't play, the way you use your technique, the 
way you strike a cymbal or drum, where you place each beat, the 
balance between feet and hands—most of all, though, I believe it's 
your concept. 

Your technique is your musical vocabulary. You need technique 
to be able to play anything you can think of musically. If you have 
all of these creative ideas in your head, but you can't execute 
them, they won't do you any good. There is no replacement for 
long hard hours on the practice pad or set. 

If you're at the point in your playing where you can play at least 
most of the things you can think up, then the problem shifts to 
what to play and where to play it. Now it is time to start thinking 
more conceptually than technically. 

One of the most obvious ways to distinguish between drummers 
is the way they play fills. When I play with a band, I never 
consciously play a practiced fill. The reason I don't is because by 
the time I get to that fill, someone else in the band might have 
played something just before it that will have made my fill inap¬ 
propriate. Worse, it will simply sound practiced. 

So where do I get ideas for fills or solos? I often get them from 
the piece of music that I'm playing, an idea may come from 
something another musician is playing, or I may invent a phrase 
that will fit into the style of the music. Now, if you decide to try to 
play off some of the other band members, remember to use taste. 
There is nothing more destructive and upsetting to a soloist than 
another musician bashing out every little rhythmical phrase that 
he or she can recognize. If I hear a rhythmical phrase played by 
somebody in the band, I will often recognize it, but not play it in 
unison with them. Rather, I will play a counterpart to it, play some 
of the accents of their phrase (not all of them), or play some type of 
answer to it. 

In this month's Sound Supplement, you will hear a piece by Ed 
Mann from his album, Get Up. I decided to approach this piece 
with a basic groove, but also play random fills that relate to the 
piece itself. Notice that the melody is very rhythmic, with mostly 
16th-note subdivisions. Also note that there is lots of space where 
the band is playing a groove in between the melody passages. I 
tried to play fills that were related to the types of melodic rhythms 

that Ed was playing. In this 
type of playing situation, 
you may also try to play 
some of the actual rhythms 
of the melody, but try to 
think of them as short syn¬ 
copations that can be 
shifted to start on any beat. 

Displacing a short, recog¬ 
nizable rhythm a 16th note 
or 8th note forward or back¬ 
ward from where it was 
originally heard can create 
some interesting fills. Also, 
you can play part of a mel¬ 
ody or bass line in a fill, 
actually "quoting" some¬ 
thing heard earlier in the 

With all these ways to 
play fills that will relate to 
the music you're playing, you can now think about the way you're 
going to orchestrate your fill. What I mean when I say "orches¬ 
trate" is to arrange the voices of the drumkit into long sounds, 
short sounds, and high- to low-pitched sounds. You can then play 
phrases accordingly, as a trumpet or guitar player might. Fast runs 
(a dense flurry of notes) speak better on instruments with short 
sounds such as snare drums, bass drums, timbales, and small, 
quickly decaying cymbals. Sustained sounds—larger cymbals or 
open, long decaying toms—are better for playing notes of longer 
durations. A melodic instrument plays shorter-duration notes on a 
fast run, and longer, more legato notes for larger note values. 

Don't only play things that you get from other drummers. When 
you practice, you can work on duplicating patterns from piano 
players, guitarists, and other instrumentalists. It is a very simple 
and easy concept, but you may find that categorizing all of the 
instruments in your drumset according to their timbres will help 
you come up with some very different fills. 

When I played "This Is Tomorrow," I combined four different 

1. Groove playing 

2. Linear drumming 

3. Playing as a drummer and percussionist at the same time 

4. Call and response playing 

The first concept is very obvious: Play the 

groove, beat, or pattern that will make the 
piece feel good. This sets up the mood of the 
piece. In some instances, this is all that is 
necessary. In this tune, I played this funk 




T T 

T T 


n , 

Ft 4 - 

n n n , 

1 M • 1 

tf.. 4 • ■ 

3 ™ rh J 

The second concept, linear drumming, is where most of the fills 
come in. Often I don't keep my feet playing an ostinato pattern 
and play a fill with my hands over it. Instead, I choose to incorpo¬ 
rate my feet into the "line" that I play. When playing in a linear 
fashion, no two limbs hit together on the same count: 


cciftfmurc/ on next 


Photo by Rick Malkin 

Playing as a drummer and percussionist, I will utilize percussion 
instruments or samples that are not drum-type sounds. The type of 
things I play will sound more like an overdubbed percussion part, 
in contrast to the linear concept. On this piece, I used two Paiste 
cup chimes, a low-pitched electronic bass drum sample, and a 
gunshot sample. The following is the type of rhythm I played on 
the cup chimes over the groove pattern on "This Is Tomorrow": 

t i Jil i J"3 ? JT. j j i 




i— n 

j* * T / 

~r j * 

[j s -r- •- 

_____ 11 

The call-and-response concept deals with the idea of taking 
something already stated in the music and playing a fill that 
answers back to it. Just as you can have a conversation with 
another person, you can have the same type of situation musically. 
You can spot quite a few examples of this in the Sound Supple¬ 
ment where I spontaneously played short fills that replied to some 
of the shorter melodic phrases that Ed was playing. 

Any time you play music that has "open spaces" or "open 
sections" to it, there is room for interpretation. No two drummers 
will sound alike playing a piece like this. Each has his own 

concept, his own personality, and his own attitude that he puts 
into the music. I find that most concepts are comprised of a list of 
things not to play. If you know what not to play, you must then 
create something to replace what you would have done. I men¬ 
tioned four basic concepts that I applied to this piece, but it would 
have sounded different if I had changed the percentages of each 

There are times when you only want one concept to prevail. 
There are an endless number of unexplored concepts to confront 
and an infinite amount of music that has yet to be uncovered. Next 
time you find yourself playing the same old licks, try to give 
yourself a new set of rules, and make some new statements in your 

Credits: 'This Is Tomorrow" 

Written by Ed Mann. 

Big Accumulator—ASCAP/Contemp Music—GEMA. 
Produced by Ed Mann, Kurt Renker, and Walter Quintus. 
Recorded by Walter Quintus at Ztudio Zerkall in West 

(P) and (C) 1988 CMP Records. Digital recording. 


Ed Mann: marimba, vibes, orchestra bells, electronic mallets 
with MIDI samplers and synthesizers, gongs. 

Chad Wackerman: drums, cymbals, and 
sampled percussion. 

Doug Lunn: electric bass. 

Mike Hoffman: electric guitar. 

Walt Fowler: trumpet and flugelhorn. 

Bruce Fowler: trombone. 


No matter 
what styled? 
of music yod 
play, you’ll \ 
sound better 
on a set of * 
DW Drums. 

f>rum Workshop, Inc72697 Lavery 0 , Unit Jf>/Ntvyliury Park, CA 91; 



* Aik. ■ 

Tl M m 


• ijgjp ifepetiderit) ™ 


I had Wackerman - the dynamic 
and innovative drummer behind 
Frank Zappa. Chad's choice In 
! drum sticks - Vic Firth 5B. 


Vic Firth, Inc. 
323 Whiting Ave., Unit 8 
Dedham, MA 02026 




l>YlttUN Ml! NI>S (iOSlfN 


"They are like a whole new 
generation ol cymbals - (or every 
generation ol players. There is one 
cymbal for every style of music r 


"They sound wonderful, really.These 
cymbals feel very natural and they 
speak immediately" 


“Making ihese cymbals is like 
making music, it's art Wild these 
sounds. Paisle jumped above its 
own shadow into a complete new 
cymbal world: 


"These cymbal sounds will inspire 
drummers to lune Iheir instruments 
accordingly.The sound of m drums 
has lo be richer to complement 
the cymbals " 


"I've never heard anything like this’ 
These sounds are hypnotic, 
it's a tug mystery." 


"! am impressed by the dynamic 
range. I can play soft and bring out 
the actual beauty of the cymbal \ can 
play loud and ii does not sound 
harsh but just like a big wait of 
sound Usually you can not 
get both out of a cymbal" 


“These cymbafs respond quickly 
and evenly over a wide range. 
Because the harmonics are so is possible for the 
create hew extremes 
in sound and color: 


it's like when they went from black & 
white to technicolor. These cymbal 
sounds generate the same step." 


"Maivetous! Very musical 
sounding cy mbals with a 
beautiful transparency* 


"Congratulations! trs got to be (he 
fullest range of sound I've ever 
heard. Now there's an even wider set 
of Iona I colors to choose from “ 


"Crispy, crispy, crispy They're like 
nghi therein your lace, and Ido n'l 
have to play them so hard" 


"These cymbals speak very quickly, 
with power and Ihey have dignity" 


The new cymbals give more 
response and have more attack than 
anything i ve played before' 


“Right, right, rightl Great jazz 
cymbals! 1 don'I have to pul rivets in 
these, they're already in there" 


"You know how it leeis when you 
jus! get out of the shower and 
you're nice and clean and fresh? 
That's how i feet about these 
n m cymbals. Brilliant!" 


“You feel tike playing wilh these 
cymbals.Ttiey've go! fantastic 
stick rebound. They |ust swing 
by themselves." 


"Amazing instruments.They are 
like an orchestra. Very lovely: 


"Excellent! Outstanding cymbal 
sounds. Oelinilely more volume, 
moredeiinilion, a wider dynamic 
range, the low end is a 
remarkable improvement. 

They just sound bigger 


"I've wailed forafongtime for 
a cymbal like this" 


‘ Unbelievable! Gorgeous! It's goi 
everything. This is Ihe biggest 
cymbal innovation I've heard of in my 
lifetime. Its a cymbal revolution, 


“These cymbals speak immediately, 
and have a brilliant Shimmer at Ihe 
very top end ol the sound. I have 
never heard such beautifully rich 
sounding cymbals before: 


“Really serious cymbals. They've 
got power, volume and real 
precision and they've got l hat 
magic It'sawinnerr 


‘This is the first cymbal that has 
a wide dynamic range without 
being over powering. Theycu! 
through in all dynamic situations 
with the same clarity In the 
studio, they are fantastic." 


"They (eel like pretty old 
cymbals. They feel like (hey have 
already been broken in - 
a beautiful, mellow, crystal kind of 
sound, smooth and thin 

For a copy Of our new brochure, write to us at Paisle America. 460 Attas Street, Brea, CA 92621 


The Black Max Pedal 

The Black Max pedal, from XL Specialty 
Percussion Products, bills itself as "The 
World's Only Twin Eccentric Pedal." This 
could be a double-edged claim. Does it 
mean the pedal has two offset something- 
or-others, or that it's twice as strange as any 
other pedal? It does have more nuts, bolts, 
set screws, springs, slots, and other me¬ 
chanical fittings than anything this side of 
your old Erector set. So it might seem a bit 
daunting upon first examination—some¬ 
thing along the lines of: "Do I play this 
thing or try to disarm it?" 

Not to worry; it really isn't all that com¬ 
plicated. As a matter of fact, a sheet of 
instructions provided for me by the pedal's 
designer, Luke Jacobson, starts off by say¬ 
ing: "Don't be afraid. The adjustments of 
the Black Max are, for the most part, the 
same as those of conventional pedals. 
However, now, for the first time, each of 
these adjustments is completely independ¬ 
ent [of the other]." 

And just what kind of adjustments are 
we talking about? Would you believe Beater 
Stroke (the amount of stroke between the 
beater's point of rest and the drumhead), 
Spring Tension (as with standard pedals), 
Spring Timing (when the concentrated 
spring tension happens within the stroke), 
Footplate Position (where the contoured 
footplate sits atop the drive plate for maxi¬ 
mum foot comfort and power), Footplate 
Stroke Length (five settings that adjust how 
much the footplate depresses to achieve 
each stroke), Footplate Angle at Impact 
(which is just what it sounds like), and a 
nifty additional feature called the Acoustic 
Simulator (which I'll get into more later). 
Add to these the variables of beater type 
and beater height, and you have a pedal 
that can achieve almost any conceivable 
combination of actions for "that personal¬ 
ized feel." The intent of both Luke Jacob¬ 
son and XL's Neal Graham was to create a 
pedal that could be absolutely all things to 
all people—no small task, considering that 

a bass drum pedal is perhaps 
the single most personal piece 
of hardware on any drummer's 
kit, and no two drummers are 
ever happy with the same one. 

As a matter of fact, this re¬ 
view turned out to be an educa¬ 
tion in pedal design for me, 
since I wound up reviewing a 
"work in progress." No fewer 
than three versions were sent to 
me during the review process, 
with various changes and im¬ 
provements made to each one. 

By way of description, I'd 
have to say that the Black Max 
is a big pedal, at a time when 
smaller, lighter pedals are more in vogue. 
But it has to be big to incorporate all of its 
mechanical features. The heelpiece of the 
pedal is actually a part of the molded steel 
baseplate, to which the yoke of the pedal is 
attached. (As a result, the pedal cannot 
fold up in any way, making it a bit cumber¬ 
some to pack up or carry.) The tension 
spring is adjustable from above, which is 
convenient, but the hoop clamp is tight¬ 
ened by a thumbscrew at the outside lower 
right of the yoke. It's more convenient than 
one under the footboard, but you still have 
to get down pretty low to reach it. Other 
than those two adjustments, all of the other 
adjustments on the Black Max must be 
made either sitting on the floor (if the pedal 
is in place) or by removing the pedal from 
the drum entirely. This can be a bit tedious 
during the initial fine-tuning process, but 
adjusting the Black Max is something like 
setting up a rack system for the first time: It 
takes forever to get it right, but once you 
do, it's that way for good. An Allen wrench 
is supplied with the pedal; you'll also need 
a small slotted screwdriver and a small cres¬ 
cent wrench to complete all your adjust¬ 

The footplate is a contoured and grooved 
piece of high-impact plastic that can slide 
backwards and forwards on the steel plate 
that actually drives the pedal. This particu¬ 
lar adjustment is for comfort only; it has no 
real effect on the action of the pedal since 
the steel drive plate remains the same length 
no matter where the footplate is adjusted. I 
found one small problem with the footplate: 
Its deep grooves and non-slip surface tended 
to grab the sole of my shoe, making it 
difficult to play double strokes with a 
"glancing" motion. Not everyone plays that 
way, so not everyone would experience 
that problem, but it's worth noting. I'd like 
to see XL offer a smooth, non-grooved foot¬ 
board as an option. 

I made a little dig earlier about the "Twin 
Eccentric" name; I should explain that what 

it really refers to is the heart of the Black 
Max's drive action: twin eccentric cams 
that are adjustable in their relationship to 
one another. Where most pedals have a 
spring that pulls against a single cam (thus 
turning the pedal's axle), the Black Max's 
spring attaches to a drive strap wound 
around two cams that are independently 
adjustable. Depending on how you posi¬ 
tion these cams, you can get a spring pull 
that would tow a semi, or a fairly light 
spring response that requires only a gentle 
touch to swing the beater. Add to this the 
fact that you can adjust where, in the 
beater's stroke, the spring tension hits maxi¬ 
mum, and you see that the Black Max could 
serve a rock stamper or a jazz lightfoot 
equally well. 

Luke's introduction mentioned the inde¬ 
pendence of the Black Max's adjustments. 
That's the feature of the pedal that most 
appealed to me. I hate it when I have the 
beater throw, pedal travel, and spring ten¬ 
sion just perfect on my current pedal, and 
then a strap stretches or breaks. Putting on 
a new strap changes the pedal travel and 
the beater throw, so I have to change the 
spring tension to accommodate them. Con¬ 
sequently, everything is uncomfortable un¬ 
til the new strap stretches to a certain point 
and my foot gets used to the pedal all over 
again. With the Black Max, this cannot 
happen. First of all, the drive strap is a 
fiber-reinforced rubber material, somewhat 
similar to auto fan belts. It's not as likely to 
break as leather straps, nor as likely to 
stretch as woven nylon—yet it doesn't feel 
as rigid as a chain. Second, every element I 
discussed—beater throw, pedal travel, 
spring tension, etc.—can be set independ¬ 
ently from the other. This means that you 
can determine how far your beater moves 
from its resting point to the drumhead and 
how far the pedal depresses in order to get 
it there; that isn't determined by how long 
your drive strap is. Pedal angle at impact 
can also be adjusted, giving just the right 
footboard angle for maximum comfort and 

The Acoustic Simulator is a device that 
Luke created with the idea of the pedal 
being used on electronic kick drum pads. 
Many drummers have complained that play¬ 
ing against an electronic kick is very much 
like playing against a brick wall. So Luke 
fitted the Black Max with a spring-loaded 
feature that allows the beater to "flex" upon 
impact. This gives a more natural feel when 
playing against a hard surface, and pro¬ 
vides an added benefit when playing an 
acoustic drum: Since the beater can "flex," 
it doesn't come to a dead stop against the 
drumhead (which can serve to choke off 
the head). The result is a noticeable in- 



crease in low end and resonance from the 
bass drum. Drummers who like to "play 
into" their drumheads and so wouldn't want 
their beaters to flex could simply disengage 
the Acoustic Simulator; they would still have 
the option to use it if they happened to 
play an electronic kick drum. And for those 
who would have absolutely no use for such 
a feature, a lower-priced version of the Black 
Max is available without it. 

Another unique feature of the Black Max 
is its Backcheck. Originally, this was a non- 
adjustable lobe used to stop the motion of 
the driveshaft (and the swingback of the 
beater) upon the pedal's return. I found 
that this device stopped the return of the 
beater in such an abrupt way that it inter¬ 
fered with my footwork on the pedal. Like 
most drummers (I believe), I rely on the 
return action of the beater to put the foot¬ 
board in the right place for my next down- 
stroke. The timing of my footwork is based 
on this. When the first couple of Black Max 
versions didn't return in the manner I was 
familiar with, I couldn't get any quickness 
from them; they seemed slow and heavy in 
their action. Luke must have received this 
same response from several other drum¬ 
mers from whom he was gathering input, 
because he came up with a way to over¬ 
come the problem. The new version incor¬ 
porates a spring (separate from the pedal's 
drive spring) that still controls the return of 
the beater, but does not stop it abruptly. 
With this adaptation, I found the pedal 
much more natural and comfortable to play. 
It may be that the earlier version was more 
mechanically efficient in theory, but some¬ 
times a designer has to adapt theory to suit 
the idiosyncrasies of the consumer. The 
newer version of the Black Max has done 
just that, and it now feels wonderful to use. 
(For the sake of clarification, I should point 
out that our photo shows one of the earlier 
versions; all current models will incorpo¬ 
rate the new return feature.) 

I can't say that the Black Max is the 
perfect bass drum pedal; there are just too 
many drummers out there who demand 
different things from their pedals for any 
one product to be perfect. But I can say 
that the Black Max is the most versatile, 
adjustable, and user-friendly pedal I've 
come across. It's a bit big and awkward to 
carry, and it will exasperate you for a while 
until you master the subtleties of its adjust¬ 
ments. But once you've gotten everything 
tweaked just the way you like it, I think 
you'll have a friend for life. Owing to the 
last-minute design changes I mentioned, 
list pricing for the Black Max had not been 
established as we went to press. However, 
by the time you read this, the pedal should 
be available at your local retail drum shop. 
In the meantime, you can get more infor¬ 
mation directly from XL Specialty Percus¬ 
sion, P.O. Box 8304, Ft. Wayne, Indiana 

—Rick Van Horn 

The Vruk 

For years, I've been wondering why some¬ 
one hasn't developed a bass drum pedal 
you can play with your heel as well as your 
toes. (If you're like me, you've probably 
noticed that you can do certain things faster 
and more accurately with your heel.) Re¬ 
cently, to my surprise, I came across a 
unique new invention from England called 
the Vruk that comes very close to that con¬ 

The Vruk is an add-on heel plate that 
attaches to any normal bass drum pedal 
about two-thirds of the way down the 
footplate, with no modification needed. A 
bent steel spring underneath this heel plate 
enables the player to depress the pedal 
with a heel action, thus transferring force 
towards the beater and striking the drum. 
Normal playing with the front of the foot is 
not affected. This facilitates a heel-to-toe 
technique that makes playing doubles, trip¬ 
lets, or merely faster bass drum patterns 
very easy. There is a trade-off, though, in 
that a slight adjustment in your playing 
technique might be necessary to employ 
the heel-to-toe method. If you already play 
in this manner, the Vruk will be easier to 

The Vruk was invented by Vuk Vukovic, 
a 31-year-old Yugoslavian drummer cur¬ 
rently living in England. At the age of 16, 
Vuk was playing Bulgarian and Macedonian 
folk music with a Yugoslavian band that in¬ 
corporated many odd time signatures into 
their music. Normally, the rhythmic pat¬ 
terns are played on the snare drum, but he 
tried to split them between bass drum and 
snare. Some parts of the music were very 
fast, and it was not possible for him to play 
the pedal that quickly. One day—while 
watching an old movie with Fred Astaire 
doing his marvelous tap-dancing—Vuk 
came up with the main principle of the 
Vruk. Lack of funds put the idea to rest for a 
while, but later, after developing various 
prototypes, Vuk found a partner in engi¬ 

neer James Reed. The first finished Vruk 
came out of the die in late 1988. 

Vuk sent me one of his models to 
try, along with a demonstration video 
of himself using the Vruk in a drumkit 
application. Vuk's demo was on a twin- 
bass kit, with Vruks attached to both 
pedals. The result was accurate double- 
stroke rolls on the two bass drums—a 
feat that could never be accomplished 
in the normal manner. 

A bit of practicing is required with 
the Vruk in order to get used to the 
minor technique change needed. Vuk 
told me that to get to the level demon¬ 
strated on the video took him five 
months. Therefore, the possibilities with 
the Vruk depend solely upon the 
drummer's initiative to work with it. I've 
had the Vruk with me for a few months, 
and am beginning to get it down with only 
intermittent practice. From watching the 
video, and working on the technique my¬ 
self, I've found that the Vruk allows double¬ 
bass-drum effects to be played on one bass 
drum quite easily. The Vruk is not a short¬ 
cut to faster playing, but rather an aid to 
inducing faster patterns with less strain. (The 
Vruk can also be attached to a hi-hat pedal, 
and will work in the same manner as on a 
bass drum pedal.) 

The Vruk has patent applications in sev¬ 
eral countries, and is currently available in 
English drum shops. A U.S. distributor is 
currently being sought. The unit is avail¬ 
able in aluminum finish or in black at retail 
prices of £40 and £44, respectively (ap¬ 
proximately $72 and $79 U.S.). All told, 
the Vruk is a relatively inexpensive drum 
pedal accessory that opens up a wealth of 
possibilities for drummers to create new 
and interesting rhythmic patterns on the 
drumkit. Vuk Vukovic has invented a to¬ 
tally new product, and I hope someone in 
the U.S. picks up on the Vruk to unleash 
upon American drummers. For more infor¬ 
mation, contact Vruk International Ltd., 112 
Longhill Road, Catford, London, SE6 1UA, 

—Bob Saydlowski, Jr. 

continued on 

SSrums mi SALE 

Says It All... 



Get on Mailing List 
748 Robinwood Drive (College Plaza) 
Hagerstown, MD 21740-6509 

1-301-733-DRUM (3786) 


The Upbeat 


This particular review is a little out of the 
ordinary for this department, since the sub¬ 
ject is not yet a commercially available 
product. But since we have another device 
designed to achieve the same results—and 
yet totally different in concept—reviewed 
elsewhere in this issue, it seemed appropri¬ 
ate to include the Upbeat pedal at this 

Designed by an inventor who goes by 
the name of Jib, the Upbeat pedal is a fairly 
conventional-looking bass drum pedal that 
has been adapted to create a beater strike 
on both the downstroke and the upstroke 
as well—hence its name. The essential 
operational elements of the pedal that make 
this double-action possible are a double¬ 
spring, double-pull linkage system and 
footplate attachments for securing the heel 
and toe to the pedal's footboard. 

The principle of the Upbeat pedal is 
simple: The player secures his or her foot 
to the footboard using the over-the-toe toe 



send $7.95 + 

$1.00 shipping & handling to: 
P.O. BOX 92)6 

WIL M IMG TON, DE 19809-9916 

stop and the adjustable heel stop, and then 
plays the pedal with a flat-footed style, rock¬ 
ing the foot at the ankle. A step down pro¬ 
duces one beat; lifting the foot back up 
produces a second beat. 

The execution of this principle is not 
quite as simple as it sounds; it does require 
that the player have complete facility with 
a flat-footed (or more familiarly, "heel- 
down") technique. Also, it helps to have a 
fairly large foot, since the leverage achieved 
by a longer foot makes it easier to get a 
powerful beat on the upstroke. Jib has made 
the foot-locking device adjustable, and has 
also provided different footboard-travel set¬ 
tings at which double strokes may be 
achieved, but I still had to move my fairly 
small foot through a pretty wide up-and- 
down arc to get the Upbeat stroke. I nor¬ 
mally play both heel-down (at low vol¬ 
ume) and heel-up (for power), but I still 
was uncomfortable at first with the ankle 
movement this pedal required. However, 
any totally new device requires new tech¬ 
niques to operate it, and I'm sure that with 
enough time, I could adapt my playing style 
to achieve some dramatic results with this 

I mentioned the varied footboard settings. 
By simply lifting the lower end of the foot¬ 
board up a bit, the entire footboard can 
slide in or out of four slots. Depending on 
which slot is chosen, you can have single¬ 
stroke (downstroke) action only, two set¬ 
tings at which singles or doubles can be 
played (depending on how far up you lift 
your foot), and one setting at which virtu¬ 
ally only double strokes can be played. (At 
this setting, its possible to play pretty re¬ 
spectable single-stroke rolls on the bass 

Jib has included an interesting option in 
the design of his pedal. Rather than have 
one beater holder, the Upbeat pedal is fit¬ 
ted with two, and they are slightly offset. 

By using two beaters at the same time, it is 
possible to achieve a flam effect on the 
bass drum. Whether this effect is desirable 
is up to the individual player, of course. I 
wouldn't use it except for extremely open, 
1-and-3 downbeat patterns, but it does 
produce a very thick bass drum sound that 
might work well in those situations. 

The aspect of the Upbeat pedal that I 
have the most problem with is power. Since 
the linkage is sprung, there is no point at 
which the beater is actually held against 
the drumhead by direct force—no "dead 
stop point," in other words. I found that, 
even with practice, I was unable to achieve 
the kind of volume and power on a totally 
acoustic bass drum that I require. How¬ 
ever, power would probably not be a prob¬ 
lem on a drum that was miked up, and 
certainly wouldn't on any electronic kick 
drum or acoustic bass drum fitted with elec¬ 
tronic triggering. Given the speed that this 
pedal could offer when mastered, I could 
easily see it fitting in to a number of styles 
of music that call for machine-gun bass 
drum patterns using electronic sounds. Rap 
music immediately comes to mind. 

As I said, the Upbeat pedal is not actu¬ 
ally on the market at the moment. (As a 
matter of fact, our photographs are of Jib's 
hand-made prototype.) Jib has been seek¬ 
ing a manufacturer within the drum indus¬ 
try for some time. His design is radical, so 
he has met—not surprisingly—with resis¬ 
tance so far. But his concept is an interest¬ 
ing one, and in light of other recent devel¬ 
opments along the same line, might merit 
closer examination by a forward-looking 
drum or hardware company. In the mean¬ 
time, individuals who are interested in 
communicating with Jib about his Upbeat 
pedal design can reach him at 667 Osceola 
Avenue, Winter Park, Florida 32789. 

— Rick Van Horn 






Shot on location, Whitney Houston Concert, Madison Square Garden, New York. 

Tm using Shure'sSM98 more 
and more because it helps me 
get that natural drum sound and 
the mic adds no 'color' of its own. 
Its small size doesn’t obscure 
the audience’s view of the drum¬ 
mer and means the mic is less 
likely to get hit by drumsticks. 

‘‘I prefer the warm natural 
sound you get with condensers. 
That's why I like the rich lows 
and low-mids I get with the SM98 
on tom-toms. Plus it’s rugged 
enough to stand up to road 

“To get the fat sound I want, I 
position the mic about three fin¬ 
gers distance off the drum head 
and aim it toward the center to 
avoid unwanted rim harmonics. 

"To minimize leakage from 
adjacent drums, 1 use Shure's 
A98SPM polar modifiers to get 
the isolation a supercardioid 
provides. I’ve found that combi¬ 
nation works great overhead on 
the high hat as well. With the 
pattern control the modifiers 
provide, it’s like having two mics 
in one. 

"For area miking of percus¬ 
sion instruments, l prefer the 
SM81 because of its extended 
flat frequency response. And the 
SM57 still is my first choice on 
snare and guitar amps.” 

If you’re looking for answers 
to your miking problems, start 
where David Morgan does— 
with Shu re. 

Call for a free copy of Shure's 
full line Microphone/Circuitry 
Catalog. Call 1-800-257-4873 
(In Illinois 1-800-624-8522). 


E 1 


E C T 

R O N 1 

1C R E V 1 1 

E W 

Different Drummer 

Example 1 

6 File Edit Windows Pattern Jam Song Instruments 

6/8 Number 5 



i j hrm® 

|fi / b| 
















Hat Open 






(:;>)[ Hi Hat Closed 






f 1 , 

r 1 






(^S)j Cabas* 








f Sr 






Cymbal Crash 






(^►)j Timbale 








r“ rr "' 


(?: |>)| Cony* High 












Conga Low 








Cymbal Asian 






@1 Snare 














c ^ 










During the past few months, the computer¬ 
ized drummer has been the beneficiary of 
a bevy of new programs. One of these is 
Different Drummer by Prim era Software. 
Different Drummer is written for the Apple 
Macintosh computer and is a program that 
can comfortably wear several hats. In one 
disguise, it can turn your Mac into a drum 
machine. Used in a slightly different way, it 
can be a remote-control programmer or 
serve as a pattern and song librarian for 
your "real" drum machine. 

The basic concept behind a program like 
Different Drummer is to give the program¬ 
mer (not necessarily a drummer) a graphic 
interface for controlling a drum machine. 
As a rule, drum machines are long on physi¬ 
cal features and short on visual aids. When 
you first boot Different Drummer, you en¬ 
ter the "Pattern Edit" screen as shown in 
Example No. 1. 

The pattern edit interface is closely re¬ 
lated to the well-known MacPaint program. 
On the left side of the screen is the tool 
palette, and on the right is the "canvas." 
The method of "painting" notes on the 
screen is very simple and intuitive. Simply 
click on a note value on the left side of the 
tool pallet (like the highlighted 16th in the 
example), move the mouse to where you 
want that note to be played (Conga Low on 
beat 6), and click. Similar to the "fat-bits" 
feature in MacPaint, clicking on a note that 
is already on the screen will erase it. And, 
if you click over an existing note with a 
different rhythmic value, the new value 
overwrites the old. What could be easier? 

There are also additional goodies and 
options that can be used. The arrow and 
the hand have become traditional icons in 
the Macintosh community for selecting and 

grabbing. In Different Drummer, these two 
icons serve the same purpose. The pro¬ 
grammer can select a note or group of notes 
with the arrow, and move them around on 
the screen with the hand. 

Below these icons are the note values 
that can be inserted into a pattern. At first 
glance, it seems that any value from whole 
notes to 256th notes can be selected, but 
Different Drummer offers even more op¬ 
tions. See the figures of the quarter, along 
with grouping of three, five, and seven in 
the palette? These are used in conjunction 
with the note values to let the programmer 
enter everything from "normal" notes, to 
8th-note triplets, or even something like 
128th-note septuplets. In other words, the 
programmer can get every note value found 

on a real drum machine, plus a few more. 

At the top of the palette are the motion 
controls. As you might expect, clicking on 
the arrow will start the pattern playing, , 
while clicking on the box causes the pat¬ 
tern to stop. The circle is used for "real- 
time" recording, which we'll cover in a 
minute. The bottom right of the tool palette 
presents the accent levels. Notice that the 
volume choices range from four heavy dots 
to four light dots, offering a total range of 
nine levels. 

The programming window next to the 
tool palette contains an abundant amount 
of information. In the upper left is a tempo 
reading that can be adjusted in one-beat 
increments from one beat per minute to 
256 beats per minute. Next to the tempo 
indication is the meter. A simple command 
under the Pattern menu called "Set Time 
Signature" presents you with a dialogue 
box for meter selection. Time signatures 
can be selected from 1,2,3, 4, 5, 6, 7, or 
12 beats over single, half, quarter, 8th, 16th, 
or 32nd notes. 

The entire right side of this window is 
dedicated to the pattern grid. Notice the 
"Ml" at the top of the grid? This means that 
you're looking at the first measure of a 
multi-measure pattern. The next measure 
would begin after the vertical line, and in 
order to move the remainder of the pattern 
onto the screen, the programmer would 
click in the scroll bar at the bottom of the 

Below the measure indications are the 
beat markings. Since this particular pattern 
is in 6/8 time, there are six beats per meas¬ 
ure. Next comes the programming grid it¬ 
self. In the first example, the grid divides 

Example 2 

6 File Edit LUmdotns Pattern Jam Song Instruments 

Untitled-2 * Jam 



6/8 Chorus I 6/8 Chorus 2 

j^j m 


6/8 Ending I 




6/8 Ending 2 6/8 Number 16/8 Number 26/8 Number 3 



6/8 Number 46/8 Number 5 






by Norman Weinberg 

Example 3 

6 File Fdtf Windows Pnttorn Jam Song instruments 

each beat into two equal parts, because a 
16th note is selected as the tool. Whenever 
a new note value is selected from the tool 
palette, the screen's grid changes to ac¬ 
commodate the new note value. Commands 
for zooming in and zooming out ensure 
that you see as little or as much of the grid 
as you want. 

Using this type of a grid, it's very easy to 
see that the Hi-Hat Open is going to play a 
16th note on the second half of beats 4 and 
6. In addition, a quick glance at the type of 
dot next to the note will tell you which 
notes were entered with no change in dy¬ 
namics (the Conga High track), softer dy¬ 
namics (the Cabasa track), and stronger 
dynamics (the Snare track). 

Some drum machines have the option of 
changing instruments after the attack points 
have already been programmed into the 
pattern. Manufacturers call this feature 
"Swap Sounds" or "Voice Assign." In Dif¬ 
ferent Drummer, clicking on an instrument's 
name brings up a menu of all the sounds 
that are available in the program. Perhaps 
you would like to hear the pattern in Ex¬ 
ample No. 1 with a cowbell sound instead 
of the Cabasa. No problem: Calling up the 
cowbell is just a mouse click and a drag 
away. Once you get a configuration of in¬ 
struments that you like, you can save them. 

But wait a second! Where are these 
sounds coming from and what is playing 
them? Remember that one of the Different 
Drummer's hats is a full-featured drum 
machine. Included on the Different Drum¬ 
mer disk are almost 50 different digital 
samples that can be played by the digital 
processors inside the Macintosh. But that's 
not all! Not only does the program come 
with all those samples already on the disk, 
it has the ability to read digital sound files 
created by Sound Designer, Soundcap, and 
SoundEdit. If you own any of these sample¬ 
editing programs, it's nice to know that the 
fruits of your labors can be incorporated 

into Different Drummer! 

There are a couple of basic limitations 
involved with using the Mac as a drum 
machine. First is the sound quality. The 
computer's digital-to-analog circuits use 8- 
bit linear sampling. If your ears are accus¬ 
tomed to the industry's current 16-bit high- 
end, these samples are going to sound 
grainy or noisy, and will lack the crystal- 
clear highs that 16-bits can offer. 

The second limitation is the Mac's four- 
voice sound generator. This means that you 
can have any ten instruments on the screen 
for a pattern, but only four can sound at 
once. Trying to get five sounds simply won't 
work. At times, a long sample's decay will 
be cut off by another instrument's attack. 
Oh yes, the tiny speaker inside the Mac 
isn't state-of-the-art, so connecting the Mac 
to an external speaker will improve the 
sound considerably. Keep in mind that these 
shortcomings are not caused by Different 
Drummer. No programmer can get around 

them or outsmart them. 

Different Drummer has a couple of handy 
features that should be mentioned. First is 
the ability to mute any instrument's track 
by simply clicking on the picture of the 
speaker next to the instrument's name (like 
the Cabasa in the first example). Second is 
the ability to record your patterns in a "real¬ 
time" mode. 

Notice in the example that there are 
numbers next to the instrument's name for 
each track. These numbers correspond to 
the numbers on the top of the Macintosh's 
keyboard. In other words, put the program 
into record mode by clicking on the circle 
in the tool palette, and then tap the "5" key 
to trigger the sound of the Timbale. Bingo! 
The sound is played, the attack is quan¬ 
tized to the closest value selected in the 
tool palette, and everything is entered into 
the pattern. Obviously, the Mac's keyboard 
isn't velocity sensitive, but accent levels 
can be programmed by using the number 
keys on the Mac's numeric keyboard. 

So, you've finally got the pattern to sound 
just right. All the attacks are in the right 
place, the dynamics are perfect, and every¬ 
thing is looking great. What do you do 
now? Easy: Give the pattern a name and 
save it to disk. Normal patterns take be¬ 
tween 2K and 4K, depending on their den¬ 
sity and length. On a standard double-sided 
Mac disk, you've got room for several 
hundred patterns. 

Perhaps you've noticed that the first ex¬ 
ample contains a menu called "Jam." A 
jam is something that is unique to Different 
Drummer. By looking at Example No. 2, 
you can see that the jam window is very 
simple. There is a stop button (using the 

Example 4 



same graphic as in the pattern window), a 
tempo control, and an open window wait¬ 
ing to be filled with patterns. 

The concept behind a jam is to add a 
number of patterns to the window and ex¬ 
periment with playing the patterns in differ¬ 
ent orders. To create a new jam, you sim¬ 
ply tell Different Drummer to add patterns 
into the empty window. Once you have all 
the patterns you want on the screen, start 
the jam by clicking on one of the patterns. 
Once selected, the pattern will repeat in its 
entirety until the stop button is clicked or 
another pattern is selected. Get the idea? 
You can just click on different patterns to 
get a feel for how they work together. Nice, 
huh? And any pattern in the jam can be 
copied so that you can make slight vari¬ 
ations and edits to the pattern without leav¬ 
ing the jam window or losing the original. 
In addition, jams can be saved to disk. 

So far, we've created patterns and ex¬ 
perimented with their order in the jam win¬ 
dow. Now it's time to create a song. The 
song editor is where this program and its 
visual interface really shine. The song edi¬ 
tor looks much like the jam editor with a 
few additional buttons. There is the arrow¬ 
like play button, a selection pointer tool, 
and a looping tool. As you can see from 
Example No. 3, a song is created by load¬ 
ing patterns into the window and adding 
any necessary loops. 

It's a simple task to add loops of any size 
or even nested loops that are two or three 
levels deep. As in jams, patterns can be 
copied for adjustments while in the song 
editor. There is even a command for copy¬ 
ing just the pattern's icon, without making 
an entirely new pattern (and using up more 
memory). This can come in handy when a 
particular pattern is used in several sec¬ 
tions of a song. If you want to adjust the 
order of a pattern on the screen, just select 
it, and use the mouse to drag it around to a 
different location. Additions and deletions 
are even easier to perform, and, once you 
are satisfied with the result, saving the mas¬ 
terpiece to disk is a snap. 

By now, you should have a pretty good 
handle on how using Different Drummer 
can turn your Macintosh into a drum ma¬ 
chine. But, if you already own a "real" 
drum machine, can you still use Different 
Drummer? You bet! 

What you see in Example No. 4 is this 
program's Instrument Setup Window. By 
using this window, you can give a name to 
any instrument, decide if the name will be 
visible in the "pop-up" menu of the pattern 
editor, assign that instrument a MIDI note 
number, and designate a MIDI channel. 
Bingo! You've made the MIDI connection. 
Anything you program on the computer's 
screen will be played by your drum ma¬ 
chine using the drum machine's samples, 
tunings, stereo outputs, etc. Different Drum¬ 
mer will supply the note-on and -off mes¬ 
sages, changes in velocities, and tempo— 
in essence, using your drum machine as an 
external sound generator for the software. 
And (get this), when running the program 

in this way, you're no longer limited to 
only four voices! 

Once you've arranged all your instru¬ 
ment names, channels, and note numbers, 
the result can be saved as a "Setup" that 
can be selected from the Instruments menu. 
The program comes from the factory with 
setups for the Alesis HR-16, the Roland 
TR505, and the Yamaha RX15. In other 
words, changing the sounds of your pat¬ 
terns and songs can be as simple as calling 
a new setup from the menu. Creating a 
new setup takes only a few minutes, and 
for electronic drummers who own two dif¬ 
ferent drum machines (or a drum machine 
and a multi-timbral unit like the Korg Ml 
or Roland D-110), you can see how easily 
patterns can be "ported" from one machine 
to the other. 

It's also possible to use Different Drum¬ 
mer as a librarian for your drum machine 
by creating patterns in the software and 
then recording them into the drum 
machine's internal memory by MIDI mes¬ 
sages. I know that this may sound a bit 
klunky, but it does work, and for many 
models of drum machines, it would serve 
as the only current solution to the lack of 
drum machine librarians on the market. 

There is one additional feature that must 
be mentioned. Different Drummer can cre¬ 
ate a standard MIDI file from any pattern or 
song. This means that you can create the 
entire drum track in Different Drummer, 
dump it out to a MIDI file, and open that 
file with your software sequencer (if your 
sequencer reads MIDI files). 

Different Drummer is a program that is 
going to save a lot of musicians a lot of 
time. Programming a drum machine in such 
a graphic environment is a welcome change 
of pace, and I found that the visual pro¬ 
gramming process did a lot to stimulate my 
creative juices. 

There are a few things that I would like 
to see implemented in future versions of 
this product. The programmer should be 
able to use more than ten instruments per 
pattern. At least 32 instruments at once 
would give the software more flexibility 
when used as a remote-control program¬ 
mer. But, with a scrolling window avail¬ 
able, why have any limitation on the num¬ 
ber of instruments visible at one time? 

If Primera wants drummers to use this 
program in place of their own drum ma¬ 
chines, then programmable tempo changes 
in the song editor are going to be a must. At 
the very least, Different Drummer should 
send the MIDI system-common messages 
of Start, Stop, and MIDI clocks for timing 
accuracy. Different Drummer should also 
be able to read MIDI messages sent from 
an external controller. This way, existing 
patterns already in a hardware drum ma¬ 
chine could be sent to Different Drummer. 
These last two suggestions would make li¬ 
brarian-type features less of a hassle. Any 
other complaints (such as the sound qual¬ 
ity, four-voice limitation, and slow screen 
refreshes) are really the fault of the Macin¬ 
tosh rather than the program. 

If you currently own a Macintosh com¬ 
puter, and would like to do some drum 
machine programming, then getting Differ¬ 
ent Drummer is an option to consider. If 
you own a Mac along with a drum ma¬ 
chine or a sound generator that includes 
drum samples, then Different Drummer is 
going to make programming much more 
fun. The manual is well-written and easy to 
understand, the sounds included with the 
program are as strong as can be expected 
considering the Mac's D/A circuits, and the 
visual interface is well-presented. 

Buying this program may also be consid¬ 
ered a political statement. If Primera and 
Different Drummer are supported by the 
drumming public, then they (along with 
other software publishers) will continue to 
upgrade and create programs that are de¬ 
signed for drummers and their specific 
needs. In other words, if the market is there, 
then the products will be forthcoming. If 
the software community notices that pro¬ 
grams that support electronic percussion 
are financial disasters, then drummers are 
not going to get the kind of software sup¬ 
port that keyboard players are already tak¬ 
ing for granted. Different Drummer is avail¬ 
able from selected retailers, or you can 
contact Primera Software, 1411 209th Ave¬ 
nue N.E., Redmond, Washington 98053, 
(206) 868-6360. The suggested retail price 
is $99.95. 

A New General Lo n 1 of Drmnst i cks 
for d New General ion of Drummers. 


Send 52 J'oi new color catalog. 
10707 Craighead Drive, Houston. 
Texas 77025 - 713/060-2525 



Joey Kramer 



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The Only Serious Choice, 


by Rod Morgenstein 

Double Strokes, Triple Strokes, Accents, And More 


Warming up on a drum pad before sitting down at 
the drumset is very important to me. It loosens me 
up, relaxes me, and helps me mentally prepare for 
performing. The warm-up exercises that follow are 
based on two kinds of strokes: double strokes and 
triple strokes. 

The placement (or displacement) of the stroke 
on the beat, along with strategically placed ac¬ 
cents, make these exercises quite challenging. The benefit of these 
exercises is two-fold in that, in addition to loosening you up, the 
awkward placement of the accents and strokes will help strengthen 
your overall understanding and command of time. I strongly sug¬ 
gest counting and/or tapping your foot. 

Examples 1 through 4 consist of double strokes beginning on 
the beat. 





> > >>>>>> 


> > >>>>>> 


jrom rr& m 


4 >>>> >>>> 

J-i J.J J J J J : || 


In examples 5 through 8, the double strokes are displaced by a 
16th note. That is, the double stroke begins on the "e" of the beat. 

> > > > > > > > 


> > > > >_> > > 



y >>>>>>>> 






^ ^ ^ ^ 


Examples 9, 10, and 11 consist of triple strokes beginning on the 

Q > > > >_ 





> > > > 


In examples 12, 13, and 14, the triple strokes are displaced by 
an 8th note. 





1 3 

> > > > 



1 4 



* » 


Examples 15, 16, and 17 have the triple strokes being displaced 
by two 8th notes. 







Deceptively simple, these exercises are what you might call 
musical tongue twisters. As part of my warm-ups, they keep me on 
my toes while at the same time loosening me up and mentally m 
preparing me to "tear it up" on the drumset. W 







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Randy Castillo 



A young man from a midwestern city wrote 
to me recently and said, "As much as I 
enjoy your articles in MD, I wish they were 
more realistic. In the town I live in, all you 
have to do to get the best gigs is kiss ass 
and do cocaine with the right people. Mean¬ 
while, serious, dedicated, and punctual 
drummers are not working." 

I wrote back to this young man and listed 
a number of great drummers I know well 
as friends who are not into drugs. Famous 
drummers come in all types, but most of 
the successful ones are career-oriented and 
would not do anything that would endan¬ 
ger what they have worked so hard to 
achieve. I also suggested that if the music 
scene in the town that he lived in was truly 
as negative as he described, perhaps he 
should consider relocating. This won't nec¬ 
essarily solve all of the problems, but some¬ 
times a fresh and new environment can be 
like a new start. The young man was kind 
enough to respond to my letter. He said 
that if all the drummers I had named were 
"straight," he felt as though he was in pretty 
good company. He just wanted to find other 



Some of the best, most practical tips for 
drummers often come from typical 
working players—drummers just like 
yourself. To help pass along those tips 
to drummers who can benefit from 
them, MD wiM soon debut a brand- 
new department called Drum tine* 

If you have a quick, proven tip that 
has saved you time, money, or effort, 
we want to hear from you. Items can 
range from equipment maintenance, 
repair, or design lips, to valid practice 
and playing ideas. And we'll pay you 
Si5.00 for your winning tip if its pub¬ 

We ask that you keep your Drum- 
Line lip to 1 50 words maximum. Pho- 
!os or drawings are fine, but they can¬ 
not be returned. Send your tip, along 
with your name and address, to Drum- 
Line, c/o Modem Drummer, 870 Pomp- 
I o n Av e n u e, Ceda r C rove, N | 07009. 

Why keep your unique idea to your¬ 
self? Share it with thousands of drum¬ 
mers around the world through MD's 
DrumLine —and we'll send you a check 
as a Thank You! 

serious musicians to play with. 

We all have times when we are frus¬ 
trated and upset. Sometimes it can be that 
you are working a lot but you don’t care 
for the music you are playing to make a 
living. Studio musicians often feel this way. 
The smart ones do outside gigs where they 
can really play (even though the gigs may 
pay very little) so that they can keep their 
feeling and interest in music at a high level. 
In L.A., you can hear various members of 
the Tonight Show band, for example, work¬ 
ing clubs for the opportunity to "stretch 
out" and really play. 

The opposite of this problem is experi¬ 
enced by drummers who are playing the 
music they love, with musicians they re¬ 
spect and enjoy working with, but for very 
little money. These drummers may feel very 
frustrated because the music they love to 
play doesn't pay enough money to buy 
necessities. It can be especially frustrating 
when you see other drummers getting 
ahead—at least for the moment—using the 
methods described by the young man who 
wrote me. Note that I said "at least for the 
moment." I started playing in bands when I 
was 14. I have seen many drummers come 
and go. In nearly every case, when a drum¬ 
mer developed a drinking or drug prob¬ 
lem, that drummer's career either never 
developed or was short-lived. 

For example, I have a very close friend 
who developed a heroin problem. He fi¬ 
nally enrolled himself in a heavy-duty drug 
program, got himself straightened out, and 
has been playing actively for many years 
now. His younger brother was not so lucky. 
He died from a drug overdose. He was also 
a promising young drummer who thought 
drugs would get him somewhere faster— 
and they did. They got him to the grave 

Other drummers—some of them quite 
famous—have gotten off drugs after devel¬ 
oping serious problems. However, in most 
cases, their careers were damaged in one 
way or another. The same is true of alco¬ 
hol. It too has ruined the careers of a num¬ 
ber of great musicians. Conversely, look at 
the drummers who have had long careers. 
They have maintained a healthy lifestyle. 

The music business is the "rejection" 
business. There are more drummers than 
there are jobs or bands. It has always been 
this way. The same is true in athletics. Think 
of how many high school and college foot¬ 
ball teams there are in the U.S. However, 
there are only 26 professional football 
teams. Not every college player is going to 
make it to the pros. You just have to keep 
plugging away. You have to prepare your¬ 

self the best that you can. Then, if you 
don't make it big, at least you gave it your 
best shot. Remember, the odds are against 
you. It is a very competitive and tough 

There are no shortcuts! A very wise 
woman told me years ago that "if you go 
up like a rocket, you usually come down 
like a rocket." Tremendous early success is 
usually difficult to maintain. However, if 
you go up steadily, at a reasonable pace, 
you have a better chance to maintain your 
success. Remember, it is not important how 
your career starts out. All that counts is 
how it ends up! 

Organize your own band and rehearse 
two nights a week. Again, many studio 
musicians play in rehearsal bands, just to 
have a chance to play music they enjoy. 
Organize a percussion ensemble with any 
combination of interested players. Set up 
four drumsets and have fun. Experiment 
with different instruments and different 

One good rule to follow when thinking 
about the difficulties and frustrations in our 
business is "don't worry about other drum¬ 
mers." Envy gets you nowhere. Worry about 
what you can do to improve your own 

As I mentioned, relocating is a valid op¬ 
tion. I left Kansas for New York City. Unless 
you're from a big city, you usually can't 
stay in your home town and make it. The 
exception to this is when musicians form a 
group, get discovered, and have a string of 
hit records, such as Bill Berry with R.E.M. 
This band has been together for years. The 
same thing happened with the Beatles. 
However, the chances are still tough at 

Not all of us are going to wind up at the 
top of our profession. However, this does 
not mean that drumming and music can't 
still be a big part of our lives. Music, unlike 
athletics, can be a joy all of your life. Even 
when you are too old to play, you can 
listen and appreciate. (Come to think of it, 
old football players can still watch Mon¬ 
day Night Football, so in a way, perhaps it 
is the same.) 

My attitude is, number one, there are no 
shortcuts. Number two, I am glad to be 
alive. Number three, I am blessed with good 
health. Number four, I grew up and live in 
the U.S.A. (In other countries, the opportu¬ 
nities are far fewer; ask anyone who has 
traveled.) Number five, be grateful that you 
can pursue what you love to do. And, last 
but not least, remember this: No one said it 
was going to be easy! 




S H O 

P T A 1 



Drums: An Engineer 

Last month we looked at an acoustic drum 
from the viewpoint of an engineer. We used 
some basic physical principles to help us 
understand how an acoustic drum works. 
This month we'll extend this analysis to 

First, let's discuss a property of musical 
instruments called "modes of vibration." If 
the A string of a guitar is plucked, we'd 
expect to hear an A note (110 vibrations 
per second). This does indeed happen. 
However, we hear higher frequencies, too. 
The A note by itself is the "fundamental" 
mode of vibration; the higher frequencies 
that we hear simultaneously are produced 
by higher modes of vibration. No musical 
instrument can produce only a fundamen¬ 
tal mode; the closest that we can come is a 
tuning fork (which still isn't quite pure). 
The amount and volume of the higher 
modes give musical instruments their own 
individual sounds. This is why pianos and 
trumpets sound different, even if the same 
notes are played on each. 

Before we examine drumheads specifi¬ 
cally, we'll look at a simpler mechanical 
system: a vibrating string. (Analyzing the 
string's properties will make it easier to 
understand drumheads later.) Picture a gui¬ 
tar string that has just been plucked. We 
automatically think of it vibrating as in Fig¬ 
ure 1. What's not so obvious is that the 

Figure 2: Some higher modes of a vibrating guitar string. 

nice ringy sound. The cen¬ 
ter of the drum, however, is 
something of a paradox. It's 
the anti-node for the fun¬ 
damental (and most impor¬ 
tant) mode. However, for 
four out of the first six (and 
five out of the next six) 
modes, it's part of a nodal 
line. This is why the center 
of the drumhead is a "dead" 
spot; the higher modes of 
vibration aren't present 
when you hit the drum 

We can use this infor¬ 
mation if we decide to 
muffle the drum. The cen¬ 
ter of the drumhead is a 
good spot to dampen the 
fundamental mode of the 
drum, since it's the anti¬ 
node for this lowest fre¬ 

Figure 7: Fundamental vibration of a guitar string. 

string is simultaneously vibrating in several 
other patterns, as shown in Figure 2. (We 
would see these patterns if we looked at a 
vibrating string with a strobelight instead of 
a steady light.) These are its higher modes 
of vibration. 

Scientists have invented their own termi¬ 
nology to describe this sort of vibrating 
system. Of interest to us is the word "node." 
This describes a point (such as in the middle 
of the string of Figure 2A) where there is no 
movement. Conversely, an "anti-node" is a 
point at which maximum movement oc¬ 
curs. In Figure 2A, there are two anti-nodes, 
at 1/4 and 3/4 of the way along the string. 
Touching this vibrating string at different 
points will have different effects. If we touch 

a node, nothing will happen; the string will 
continue to vibrate unimpeded. However, 
if we touch an anti-node, vibration will be 

Now, we'll apply all of this to drum¬ 
heads. If we assume a perfectly tuned drum¬ 
head, we'll come pretty close to what 
acoustic engineers call "an ideal mem¬ 
brane." These scientists have analyzed 
membrane vibration pretty exten¬ 
sively. What they found can be 
useful to us as drummers. 

Drumheads are actually very 
complex devices. Our guitar string 
analogy is still useful, but we must 
change our idea of a "node" to 
that of a "nodal line." In a drum¬ 
head, there are no longer points 
with no movement. Instead, there 
are lines of no movement. 

Figure 3 shows the first six modes of 
vibration of a drumhead. Each has a nodal 
line around the rim, which is obvious: The 
rim prevents motion. However, nodal lines 
also occur across the head and around it. 
(This may all seem strange, but it's a proven 
fact.) These six modes are the simplest; at 
least 12 have been identified, and they get 
more complicated as you go up. However, 
since the lowest modes are generally the 
loudest, we'll content ourselves with the 
first six. 

These modes are the reasons behind 
some common drum behavior. If you hit a 
drum out near the rim, chances are you're 
hitting an area that's an anti-node for most 
of the modes of vibration. This will give a 

quency. Adhesive "dots" are sold for this 
purpose, in various sizes. The more popu¬ 
lar option is to buy ready-made dotted 
heads. (Such heads also have the advan¬ 
tage of being more durable than a plain 
head.) If you want to muffle more of the 
drum's modes, try a Remo Pinstripe or, 
more extremely, an Evans Flydraulic oil- 
filled head. Last month's article explained 
how a many-layered material filters out 
the higher frequencies, and this same prin¬ 
ciple applies here. If instead you want to 
soak up only the really high frequencies, 
try a little tape or tissue muffling, at a spot 
a few inches inside the rim. A good for¬ 
mula to use is to multiply the drum's di¬ 
ameter by 1/5 or 1/4. So, for a 12" tom, 
you'd muffle 2 1/2" to 3" away from the rim. 
This is where most of the anti-nodes are. 
The actual orientation of the nodal lines 
will depend on how many lugs there are 
and where they're located, so don't try just 
one spot. Move the muffling around a little 
to see what sounds best, but keep the same 
distance from the rim. An inch or two to 
the left or right might mean the difference 
between a node and an anti-node for a 
certain mode of vibration. 

How much muffling to use is a matter of 
taste, but the less, the better. If you use too 
much, you'll increase the effective mass of 
the drumhead and (if you really pile it on) 
decrease the effective surface area. Both 
actions raise the drum's pitch. 

If, to get a reasonable sound, you do 
have to really pile on the muffling, 
something's wrong. If tuned properly, the 



by Spiros A. Psarris 

ing Analysis: Part 2 

Figure 3: The 
first six modes 
of a vibrating 

drum should give a decent sound even by 
itself. If the drum won't tune properly, check 
your equipment. Less expensive drums es¬ 
pecially have problems such as bendable 

rims, poorly machined threads in the lug 
boxes, etc. These types of things will make 
it impossible to get a good sound from the 

By the way, drumshells also have nodes 
and anti-nodes. As drummers, we have little 
influence over the drumshell's vibration, so 
we usually ignore it. However, we now 
know what is meant by certain snare drum 
companies when they boast of hardware 
on the drum's "nodal points." We see that 
hardware mounted on the nodes of vibra¬ 
tion will have little effect on the drum's vi¬ 
bration. Compare this to the dead weight 
of six to ten blocks of metal screwed to the 
drumshell at non-nodal points. Obviously, 
"nodal-point" hardware is an improvement. 

We've now examined the complete op¬ 
eration of an acoustic drum. Study this in¬ 
formation carefully, and make sure you 
understand the underlying principles. They 
can help to eliminate the guesswork when 
you try to achieve "your" sound. Good 



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MANN i onitrumi from page 23 



NEW Signature series 
drumhead from AQUARIAN 

Jack De Johnette 
helped us test and 
develop a drumhead 
for his special style 
and sound 

Many drummers are 
respected for a certain style 
such as rock, big band, jazz, 
classical, electronic, and 
they all have their fans. But 
among all drummers of all 
styles. Jack De Johnette is 
admired and respected all 
over the world. He Is the 
ultimate multidirectional 

AQUARIAN has designed 
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Ask for this special snare 
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Ail Rights Reserved 


everyone in the group decides what group 
of instruments he wants to play, and then 
we just play. And because we’ve done it so 
much, a lot of the stuff sounds really coher¬ 
ent, as though there is some kind of ar¬ 
rangement. We decided to do an album 
like this because we always wind up im¬ 
provising together at rehearsals and taping 

it. Then, when we listen back, we always 
wish that it had been taped on a DAT or 
something, because it sounds like a com¬ 
posed piece. 

"More and more, the members of the 
group are specializing in specific instru¬ 
ments that are distinctly different. Lucky 
Mosko is playing more and more piano. 
John Bergamo is playing more hand drums. 
Gregg Johnson is getting into singing and 
rapping as an extension of his use of junk 
and car springs and industrial by-products. 
I’m getting more into electronics and mal¬ 
lets. Larry Stein is sort of the Hal Blaine of 
the group; he plays a lot of rock ’n’ roll 
drumset and has been delving into guitar. 
Jim Hildebrandt likes to focus on steel 
drums. Combining six distinct individuals 
like this is much more interesting than hav¬ 
ing a bunch of guys all kind of doing the 
same thing." 

In addition to the album, video projects 
are also in the works. "Video artist Toby 
Keeler and his assistant, Mark Mueller, went 
to Germany with us," Ed says, "and he 
taped everything from the setting up of in¬ 
struments in the studio to the band deliver¬ 
ing a stirring rendition of ’Stand By Your 
Man.’ Then we did a two-week concert 
tour and they taped that, too—the perform¬ 
ances as well as the backstage antics. We 
ended up with about 40 hours of footage. 
Toby is going to edit it down into various 
formats: a four-minute video for VH-1 type 
stations, ten-minute mini-documentaries, 
and an hour-long documentary. It will 
probably take a year to complete the whole 
thing, but it should be an interesting proj- 


Real drums never sounded so good. 
Digital drums never felt so good. 
25 Undeman Drive 
Trumbull, CT 06611 

( 203 ) 374-0020 

Ed Mann rs truly a master of 
percussion. Ed's choice in 
drumsticks and mallets - 
Vic Firth. 




vsc Firth, Inc. 
323 Whiting Ave., Unit 3 
Dedham. MA 02026 

Photo by David Rose/The Independent 


"At least we were able to document the 
band," Ed adds. "It's such a weird band 
that it would be a shame if it never got 
documented. I don't know of any other 
band doing the kind of stuff we do, or who 
have the kind of diversity that we have. For 
example, Lucky Mosko spends most of his 
time conducting ballet and opera in San 
Francisco and at the Aspen Music Festival, 
and he teaches composition part-time at 
Yale. And he's a member of the Repercus¬ 
sion Unit. He has an extensive awareness 
of contemporary music and compositional 
technique, and it comes into play. He'll 
come into rehearsal and start talking about 
some method that Stockhausen used to put 
together his compositions, and the next 
thing you know, we're doing the same thing. 
It's like going to school. Bergamo will come 
in with some hand drum that we didn't 
even know existed, and we'll start doing 
something around that. Or I'll come in with 
some new electronic gizmo, and that will 
set us off in a different direction. So it's a 
constantly evolving ball of wax that doesn't 
have any artistic limitations. Anything goes. 
For us, it's therapy as much as anything 
else. Also, because we've been doing this 
for so long, it's gotten to be kind of like an 
Elks Club, complete with a secret Lodge 
and all kinds of strange, ritualistic behav¬ 

Being that the Repercussion Unit is made 
up of such a unique group of individuals, 
and that much of their music is impro¬ 
vised, just how do they fit into the overall 
picture of percussion groups? Do they have 
any relevance to the typical college per¬ 
cussion ensemble? "Well," Ed answers, 
"there is a lot of music that John has writ¬ 
ten that we've played and that is published. 
And anyone who knows the Repercussion 
Unit knows that stuff. I have heard other 
percussion ensembles play it, and it's inter¬ 
esting because it never sounds anything 
like a Repercussion Unit performance. The 
order of pitches is about the same, but the 
phrasing and overall performance is no¬ 
where near it. Not that it should be. 

"The feedback we get is that when people 
hear us, they are not so much inspired to 
play the exact same music we play, but to 
experiment with different compositional 
forms and cross-pollinations of musical 
styles. They're inspired to take more 
chances and to get as much as possible out 
of percussion instruments, which is a huge 
amount. So in that sense, we do have an 
effect on other ensembles, just in the fact 
that we might inspire them to do some¬ 
thing they've never thought of before. 

"And that's the whole reason we started 
doing it anyway," Mann adds. "We wanted 
to carve out some new turf. So in that sense, 

I think we are relevant. There are other 
ensembles that do things their own way. 
Nexus is a drastically different group than 
we are, but experimenting and exploring is 
a big part of what they do. Whenever I see 
Nexus play I'm inspired to hit on some 
new area that they've embodied in their 





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"That’s the thing: Each musician or group 
is going to approach something in a unique 
way. You can often learn a lot just by watch¬ 
ing how other people do things. Develop¬ 
ing in your own way what you learn from 
others will ultimately result in something 
that is still unique to you." 

Besides the new Repercussion Unit al¬ 
bum, Ed has another current project that 
he is excited about: his first album as a 
leader, titled Get Up, also being released 
on CMP. It’s something that he’s thought 
about for a long time, but that he didn't 
want to do until he was sure of his own 
direction. "Since about the beginning of 
the ’80s," he says, "I've gone through a lot 
of trial and error basically finding out what 
I want my own music to be. What I've 
found is that I'm more concerned with 
content and continuity, rather than with 
music that is just a framework for a lot of 

"So during that period of time I would 
get people together and play, and I was 
experimenting a lot with writing. I also 
became aware of African pop music, par¬ 
ticularly Nigerian stuff. The music seemed 
to be very connected, and I liked the way 
the parts interacted rhythmically. It re¬ 
minded me a lot of the experiences I'd had 
with Steve Reich's music and that type of 
thing. But it also had this real groove sensi¬ 
bility to it, and that's always been impor¬ 
tant to me. I grew up listening to Motown 

and Hendrix, and I still really like that mu¬ 
sic. It's real emotional stuff. So in my own 
music I like to combine some of that over¬ 
all feeling with the interlocking rhythmic 
patterns and simple melodies that often form 
the basis of my tunes, rather than just fea¬ 
ture a lot of chopsy playing. That's one 
reason why the solos on this record are 
minimal, and often from other members of 
the band rather than myself. To write all of 
the music and be the guy who always solos 
would have been musically unbalanced for 
this particular project. 

"Another thing I wanted to do was have 
a band sound," Ed says. "I wanted to use 
the same guys on all of the tunes and re¬ 
cord everything in the same place so that it 
would have an identifiable sound. Some¬ 
thing special happens when you stick with 
the same guys and develop things together, 
as opposed to having different people on 
every tune, where you are constantly mix¬ 
ing and matching various personalities. 
There can be a place for that, but I was 
interested in developing something with this 
particular group of players. I used guys that 
I've played with a lot in other situations. 
Chad Wackerman played drums, and we've 
probably played thousands of hours to¬ 
gether in Frank's band, as well as having 
played together on the side. I had Walt 
Fowler on trumpet and flugelhorn, and 
Bruce Fowler on trombone, and again, 
we've played a lot together with Frank. 
And I worked with the guitarist, Mike 

Hoffman, and the bass player, Doug Lunn, 
in a band I had from '84 to '86 called Left, 
Right, Left. That's one place that I had the 
chance to do a lot of experimenting and 
develop my ideas. So by having this par¬ 
ticular cast of characters and taking time to 
develop the material, I think we arrived at 
a real identifiable sound. I wanted music 
that is interesting to listen to, as opposed to 
music that is just impressive. And so far the 
feedback is that people enjoy listening to 

Considering Mann's expertise with elec¬ 
tronics and his knowledge of a variety of 
instruments, he could easily have made a 
true "solo" album and played—or pro¬ 
grammed, as the case may be—all of the 
parts himself. But that was never a consid¬ 
eration. "Sure, I could have done that," he 
admits, "but I wanted the music to have an 
edge to it that you only get from having a 
band playing together. Plus, I can't play 
trombone. And even though I can play 
drums, I'm not going to play them the same 
way Chad Wackerman plays them. By hav¬ 
ing a band, you get a certain amount of 
interplay that happens because each per¬ 
son plays a little bit differently. In order to 
make all the pieces of the musical puzzle 
fit, the musicians have to find a way to 
work together, and you get a certain kind 
of tension and release. It's a special type of 
thing, and it's something that I definitely 
wouldn't have had if I had played all of the 
parts myself, from only my point of view. 

"I really have to emphasize that it's one 
thing to have compositional ideas and kind 
of provide the direction, but the real rea¬ 
son that it winds up sounding the way it 
does is because of the players involved. 
They really bring it to life. You never real¬ 
ize it more until you compare a sequenced 
demo of a tune to the real thing. The only 
comparison is that the order of pitches and 
general rhythms are about the same. What 
really makes it a piece of listenable music 
is what the players put into it." 

As one might expect, Mann plays a vari¬ 
ety of percussion instruments on the al¬ 
bum, and he incorporates a healthy share 
of electronic technology. And yet, his iden¬ 
tity as a percussionist is always evident. 
Even with the synthesized sounds, there is 
always something unmistakably percussive 
about them. "That's why I do my own pro¬ 
gramming," Ed says. "I'm using the same 
synthesizers and samplers that everybody 
else in the world is using right now, so it's 
all in the programming. Again, it's impor¬ 
tant not to lose the identity of the person 
who's doing it. So being a percussionist, 
the things I come up with on these elec¬ 
tronic gizmos should be as unique as the 
sounds I get on straight acoustic percus¬ 
sion. There should be something about the 
sound that says, 'That's a percussion patch. 
A percussionist came up with that from a 
percussionist's point of view.' A keyboard 
player probably would not come up with 
that, because he would be thinking a dif- 

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ferent way. It may be the same MIDI equip¬ 
ment, but it's the programming and design¬ 
ing of the sounds that make for the differ¬ 

"I recently did a session for Mark Isham 
that illustrates this point perfectly. He 
wanted me to come in and play some 
simple ostinatos on the Silicon Mallet. I 
was originally curious as to why he had 
called me, because he is very involved in 
MIDI and electronics, and the parts were 
very simple, so I figured that he could eas¬ 
ily have played it from his keyboard or 
computer. But he wanted both the sounds 
and the phrasing from a percussionist's point 
of view. That's what made it special, and I 
was happy that he called me to do it." 

A good example of Ed's approach to cre¬ 
ating sounds appears on his album on a cut 
titled "Shattered Illusion." One of the domi¬ 
nant sounds on that tune resembles a vi¬ 
braphone, but there's more to it than that. 
"That sound on the front part of the tune 
was made by mixing a regular vibe sound 
with a sample of my son Alexander's little 
toy bells—those metal tubes that are in a 
pentatonic scale—that was combined with 
a sample of an air tube that I was swinging 
around in a circle. When I put them to¬ 
gether, I got the attack of the bell and the 
breathiness of the air tube, which gave the 
vibes a different quality. Keyboard players 
are pretty intrigued when they hear this 
stuff, because they generally don't have 
samples of toy bells and swinging air tubes 
to work from. That is definitely a 
percussionist's domain. The electronics 
come in because normally you couldn't 
play chords and scales on an air tube, but 
with a sampler you can. 

"That was a case where the sound in¬ 
spired the tune," Ed comments. "That hap¬ 
pens frequently. I'll put samples together 
and invent these sounds just for the sake of 
inventing them, or to go after something 
that I hear in my mind's ear. Then I'll look 
for the right music to play with that sound. 
It's an interesting way to compose, as op¬ 
posed to coming up with the music and 
then trying to find the sounds that fit." 

Electronics plays another role in Ed's 
composing, in that he takes advantage of 
his Macintosh computer. "It's simply a very 
esoteric notepad," he laughs. "I used to 
play ideas on marimba with a cassette re¬ 
corder running. But then I had to transcribe 
it. Now, I play the Silicon Mallet, which is 
MIDIed into the Macintosh, and everything 
is recorded into the computer through an 
Opcode sequencing program. At any point 
I can hit Replay and hear one bar, two 
bars, the last bar, the whole thing back¬ 
wards.... It's a fast, efficient way to review 
what you've done. In fact, a few years ago I 


25 Lindeman Drive 
Trumbull, CT 06611 

( 203 ) 374-0020 



thought I had writer's block, but it was just 
frustration from not being able to work with 
the material efficiently. As soon as I started 
working with the computer, I had access to 
the material so quickly that I could work 
without getting bogged down. I didn't get 
tired; in fact, it was exhilarating to be able 
to take what I wanted and get rid of what I 
didn't want without having to dig through 
piles of paper. 

"So to me it's been a real positive thing. 
But I want to keep it in its place. I used it to 
write my book, The Essential Mallet Player, 
and I use it to print out parts. But once I've 
used it to compose, construct, and notate, 
that's it. I don't want to use it for perform¬ 
ance. I'd rather give the basic parts to real 
players and have them bring their own in¬ 
terpretations to it. Why should I sit there 
and program every drum fill when I can 
give it to a guy like Chad, who's going to 
bring his own spirit to the part? There's 
more life in it that way, and I think it's more 
interesting for the listener." 

Now that the album is finished, is the 
group that appears on it going to stay to¬ 
gether and be a real band? "Absolutely," Ed 
says. "In fact, we've already done a couple 
of gigs just to keep the momentum going. 
We'll start playing gigs in Southern Califor¬ 
nia when the album comes out, and we're 
in the initial stages of putting together a 
tour of Europe in the spring of 1990. 

"I really want this to be a performing 
unit," Ed stresses. "That's important to me 
because it keeps the music alive and also 
kindles new ideas. Functioning in a band 
draws things out of you that don't happen 
when you're practicing by yourself. When 
you get a bunch of people together, things 
start percolating. And again, the reason the 
album sounds the way it does is because 
we recorded it as a band, with very little 
overdubbing. When we play live, it sounds 
just like the record. There isn't anything we 
can't reproduce. So I want to stay with that 
band ethic." 

And what about Zappa? Ed Mann actu¬ 
ally holds the record for longevity with that 

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band, and appears on more albums than 
any other Zappa sideman. But what are the 
chances of future work with Zappa, con¬ 
sidering that Zappa has recently declared 
that he will never tour again, and that he 
might even quit music altogether? "The only 
thing you can be sure of with Frank," Ed 
answers, "is that you can never predict what 
he's going to do. A few years ago he said 
that he never wanted to tour again, but 
then late in '87 he suddenly called and 
said he was going on the road. So even 
though there are no tours or live perform¬ 
ances scheduled at the moment, I suppose 
things could change at any time." 

Whatever happens—or doesn't happen— 
with Zappa in the future, Ed is grateful for 

the opportunities that Zappa has given him. 
"It really struck me during that last tour," 
Ed recalls. "We were right in the middle of 
The Illinois Enema Bandit,' which is this 
real down-home blues number, and I'm 
standing there playing and thinking, 'Where 
else could I play marimba on a blues tune 
like this with screaming guitar? This is ri¬ 
diculous, but it's great!' Before I went with 
Frank, I never played blues marimba or 
rock-style marimba, but since having done 
it with his band, I actually do quite a bit of 
it now. It's become part of my musical vo¬ 
cabulary—part of who I am as a musi¬ 

Zappa has always had prominent per¬ 
cussion in his music. Did he ever discuss 


ip mini_ 


Ed Mann, percussionist and synthesist with 
Frank Zappa since T977 and co-bunder ol the 
critically acclaimed Repercussion Unit (CMP 31) 
presents his debut recording as a leader, GET 
UP He is joined by fellow Frank Zappa musi¬ 
cians, drummer Chad Wackerman, Bruce Fow¬ 
ler (trombone) and Wall Fowler (trumpet), as well 
as bassist Doug Lunn (e, g. Brian Adams) and 
guitarist Mike Hoffman, "Ed Mann arid bends 
have blended elements ol jazz, R & B f pop and 
island music into a truly original sound, rich in 
rhythm and melody," Rick Mattingly ■ Modern 
Drummer Magazine. 

Digital Recording/ODD—October '88 



Master hand percussionist Gfen Velez (frame 
drums, steel drum and voice), long time asso¬ 
ciate of Steve Retch and Paul Winter, unveils 
ASSYRIAN ROSE, his bird production on CMP 
Records, In the company of Layne Redmond 
(percussion), Steve Gorn (flute). John Clark 
(French horn) and Howard Levy (harmonica/ 
piano) indicate rhythms and enchanting melo¬ 
dies a re combined to create soothingly dazzling 
Asian and Souih-American rnlluenced lunes. 

Digit$l Recording/ODD—June ‘89 

Available on CD's, Audiophile Quality German 
Pressing and BASF Chrome Cassettes 


Member of 


Write for a free catalog 
CMP Records 155 W, 72nd Street #704 Dept. MD 
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any of his philosophies about percussion 
with Mann? "Not specifically," Ed says, "But 
Ruth Underwood [Zappa percussionist prior 
to Manni once told me something that I 
thought was pretty enlightening. In her opin¬ 
ion, Frank's personality and way of think¬ 
ing can be summed up by a fast single¬ 
stroke roll on the marimba. 'Brrrrrrrrrrrrrrr.' 
That's why he liked marimba so much, 
because it personified him. It's constant hard 
attacks, and there's nothing indistinct about 
a marimba sound: It's right there. And Frank 
is like that. I know that doesn't exactly 
answer the question, but that always stuck 
in my mind. 

"I think he just likes the sounds. Fie talks 
about how he was influenced early on by 
Edgar Varese, and percussion was certainly 
a big part of Varese's music. Also, Frank's 
first instrument was drums. Even though he 
never went on to become a drummer, he 
obviously has a real love for it, and I think 
it has benefitted his music. Orchestra bells 
or xylophone can really make a melody 
stick out; a gong can make low things go 
lower; a triangle can make high things go 
higher; a cymbal crash can make loud 
things louder. Percussion also gives Frank's 
music an orchestral quality that it wouldn't 
have from just guitars and keyboards. So 
I'm sure that's why he has always written it 

"I'm personally very glad that he thinks 
that way," Ed says. "Not only has it been a 
tremendous opportunity for me personally, 

but I think it's contributed significantly to 
the evolution of percussion. It's gotten a lot 
of people to listen to it and has brought an 
awareness of those instruments to people's 

But while Mann is proud to have been 
associated with Zappa's music, he feels it's 
time to establish his own identity. "A lot of 
people know that I've played with Frank 
all those years," he explains, "so they as¬ 
sume that when I write my own music, it 
will incorporate a lot of the same ele¬ 
ments—the polymeters and all that. But I 
don't include that kind of thing in my own 
music, just because it's not what I'm in¬ 
clined to do. 

"You can't get too imbedded in anybody 
else's style," Ed continues. "At some point 
you have to find out what it is that you do, 
and then make your own contribution. 
That's why I'm interested in working on my 
own projects right now. Most of the record¬ 
ings I've done have been with Zappa bands, 
and so the playing is within the context of 
Frank's view as a composer. On my own 
album I use a lot of things that don't come 
into play as part of a Zappa performance. 

"Doing my own music is something I've 
been thinking about for a long time. I've 
written music since I was a teenager. But 
it's taken me until now to get the concept 
strong enough that I feel good about it, and 
to where I know that it's going to develop 
and grow, rather than just being one al¬ 
bum. I had to wait until the time was really" 



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right, though. There's no way to force that 
kind of thing. If you do it before you're 
really ready, then you're doing yourself a 
disservice and it's not going to be success¬ 

"I was actually going to record the al¬ 
bum in 1987, and then Frank suddenly 
decided to go out on the road. So I decided 
to put it off for a year, even though I felt 
that I was ready to do it then. But the 
album ended up being better for having 
waited a year, just because my concept 
changed in that time. So it's important to 
be patient. I guess that's a fringe benefit of 

Indeed, Ed has taken his time to get a 
concept worked out, but he refuses to put 
extra pressure on himself by creating an 
arbitrary timetable for his career. "In this 
business," he explains, "we often see people 
who have tremendous success at an early 
age. It's easy to start thinking that it all has 
to happen soon, and that the clock is tick¬ 
ing, and that, 'Oh Cod, I'm going to be 30 
soon and I've missed my time.' If your brain 
is influenced that way, it's strictly self-in¬ 
duced. It doesn't have to be reality; you 
create your own reality. The fact is, there 
are a lot of years left in your life, and it 
doesn't have to all happen in a short pe¬ 
riod. The idea is to build towards some¬ 
thing so that when you're 50 years old, you 
will still be coming on to new things and 
having new experiences. You have to look 
at it as a continual growth cycle, rather 
than feeling that everything after your mid- 
30's is downhill. 

"It's always a kick when you do 
something for the first time: first gig, first 
time on the road, first time with a major 
band. Hopefully, you can continue to have 
first experiences at age 50, 60, 70. So for 
me, having my first solo album is that kind 
of experience, and it makes me feel 
younger. It's important to feel young, no 
matter what age you are." 

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The Ageless Beats Of 

After playing a recent show with the Jefferson 
Airplane, I was riding on the bus and listening to 
some music from the '60s, 70s, and '80s, when I 
realized that certain beats have been used over 
and over since the beginning of rock 'n' roll mu¬ 
sic. A lot of these beats have stood the test of time 
and have become the signature of rock 'n' roll 
drumming. I have chosen eight beats (and a few 
variations) to look at in this article. These beats are like the ABC's 
of rock 'n' roll. 


H H X - . 

so ~w 




Beat #1 

g d d i 


d d ? 


: % . =4 

■—— „- 

■- \ 

r 1 

r— r 

Beat #1 is probably the most basic rock beat you can play. 
Ringo Starr used it in the '60s on a lot of the early Beatle songs, "I 
Should Have Known Better," "Can't Buy Me Love," "I'll Be Back," 
"Help," and "And Your Bird Can Sing," to name a few. Charlie 
Watts also recorded this same beat on the Stones record "Let's 
Spend The Night Together" during the verses. In the 70s, Elton 
John used this beat on his song "Goodbye Yellow Brick Road." 
More recent examples of this beat can be found on Foreigner's 
"Juke Box Hero" and INXS's "New Sensation." To me, the best 
example of how this basic beat defines what rock drumming is all 
about in its purist and rawest form is on AC/DC's "Back In Black." 
This beat is so perfect for rock 'n' roll. It's like what the swing beat 
is to jazz music: When you play jazz you swing, and when you 
play rock, you rock! "Back In Black" definitely rocks! 

Beat #2 

Another beat that has worked its way from '60s rock 'n' roll into 
the '80s is this one: 


i y \ 


: n , 


n - * * - * -*1 

U- 1 __ _ __ _ , _ _ -1 



Once again, Ringo Starr played this beat on the following Beatle 
songs: "You're Gonna Lose That Girl," "I Want To Hold Your 
Hand," "She Loves You," and "Nowhere Man," to name a few. 
Other songs from the '60s that had this same beat include the 
Kinks' "Tired Of Waiting," Jan & Dean's "Dead Man's Curve," the 
Animals' "It's My Life," and the Four Seasons' "Walk Like A Man." 
In the 70s, Russ Kunkel used this beat on the Jackson Browne 

song "The Pretender." A 
Cougar's "Authority Sor 
rhythm to this: 

M jx 

nd in the '80s, 1 used this beat on John 
ig." 1 did, however, change the hi-hat 

2 J* J J 2 i? 


B % - - 

. . r : 



j r 1 


Beat #3 

y y y. 

T ~LT 


The Mamas and the Papas used this beat for their song "Califor¬ 
nia Dreamin'," and the Byrds used it on "Turn! Turn! Turn!" (Mike 
Clarke used a cross stick for his backbeat.) The Searchers recorded 
this beat on their song "Love Potion #9," and it can also be found 
on the Beatles' "Drive My Car." The Stones recorded "Jumpin'Jack 
Flash" and "Honky Tonk Woman" in the early 70s and used this 
beat. In the '80s Stewart Copeland used it in the chorus of "Spirits 
In The Material World," and Alan White of Yes used part of this 
beat in "Owner Of A Lonely Heart." 

Beat #4 

. JO 

J J 1 

n , 



R 2 f 

LI <1_ M M M 1 

\ T 1 


The Beatles used this beat for "I Saw Her Standing There" and 
for "Misery." In the 70s, AC/DC used it for their song "Highway To 
Hell," and I used it for John Cougar's song "Hurts So Good." 

Beat #5 

In the '60s there was a strong Motown influence in rock 'n' roll 
music, which still exists. For example, the following beat was a 
very popular beat that the Supremes used in their song "Stop In 
The Name Of Love." 

In the '60s, there were many examples of this beat in rock 
music, like the Young Rascals' version of "In The Midnight Hour" 
(solo section), the Rolling Stones' "Let's Spend The Night To¬ 
gether," the Dave Clark Five's "Glad All Over," and the Jefferson 
Airplane's "Somebody To Love" and "Plastic Fantastic Lover." In 
the 70s, Derek and the Dominos used this beat in the verses of 
"Layla," and CSN&Y used it in the releases of their song "Ohio." 

I used my own version of this Motown beat for the intros and 
verses of John Cougar Mellencamp's "Paper In Fire." 

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Rock 'N' Roll 

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Creedence Clearwater Revival used this beat in the '60s for their 
song "Fortunate Sun," and the Young Rascals used it for "In The 
Midnight Hour." 

Ginger Baker of Cream used a more funky version of this beat in 
the song "White Room" that went like this: 






4 * *iil 

u — 4 * -—-* » r — -\ 



In the 70s, Levon Helm from the Band played the following 
beat on the song "The Weight," and CSN&Y used it for "Ohio." 
You can also hear it on the Stones' "Brown Sugar." (Charlie plays 

his signature hi-hat part with this beat.) 

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Beat #7 

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Ringo Starr played this beat on these Beatle songs: "Mean Mr. 
Mustard," "Sexy Sadie," and "Dear Prudence." During this time 
period the Buffalo Springfield also used this beat on their song 

In the '80s, CS&N used this beat in their song "Southern Cross," 
but made the beat into a two-bar figure, with the drummer playing 
16th notes on his hi-hat instead of 8th notes. 

J v 


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- > m ■! 

— . * - -1 

Beat #8 

In the '60s, the Hollies used the following beat for a song called 
"Bus Stop." In the 70s, Max Weinberg from the E Street Band used 
a slight variation of this beat for "Tenth Avenue Freeze-Out" and 
"Born To Run" (verse and solo sections). 


J J J > 



- % - 1 

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In the '80s, Stan Lynch played this beat on a Stevie Nicks recorc 
called "Stop Draggin' My Heart Around" (same version as Max 
used on Springsteen's songs). 


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It's important to know that the previous beats exist, because 
they have become a part of the foundation of rock 'n' roll music, 
its sound, and its vibe. Once you can play the important rock 
beats, you can then branch off and come up with your own 
variations and combinations. This process will help you develop 
your own sound and unique style of playing. igci 


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Photo by Rick Malkin 


ew drummers can say that they have 
experienced the highs and lows of 
being a professional player more ac¬ 
curately than Billy Goodness. For the last 
two years, Billy has held the drum chair for 
one of the brightest new stars in country 
music, Ricky Van Shelton. Ricky and his 
band have played just about everywhere in 
the last two years, from obscure Texas dance 
halls to the New Orleans Superdome, with 
virtually every show bringing in capacity 
crowds. Performances on nationally tele¬ 
vised broadcasts such as the Country Mu¬ 
sic Awards haven't hurt either. But the rise 
to prominence that Van Shelton and com¬ 
pany have enjoyed is not taken for granted 
by Billy, who has done his share of paying 

"In high school I was in a rock band that 
played tennis court dances, where we ac¬ 
tually played on the courts. We also put on 
our own gigs at church halls. We would 
put up posters to get people in to gigs like 

that," Billy recalls fondly. "Later on, while I 
was still in high school, there was this real 
hot band in town called Sweet Feeling, 
and I wanted to play with them real bad. I 
heard that the drummer might be leaving, 
because he had just gotten married, so I 
went to their gigs every weeknight. I was 
playing on the weekends with another band. 

I would just sit there and memorize every 
single thing they were doing. Some of the 
guys thought I was too young, but the sax 
player, Danny Lebate, saw how interested I 
was in playing with this band. Finally, after 
I just kept showing up, Danny came up to 
me on a break and said, 'If you want to 
audition so bad, come up next set and play 
some tunes.' When I went up, he said, 'You 
know the tunes, you call 'em.' I called 
three or four of their original tunes so they 
could tell I really had studied their stuff. I 
learned a big lesson: Persistence pays off." 

Born and raised in Rochester, New York, 
the young Billy Goodness found marching 


bands fascinating—especially the drum¬ 
mers. "The thing about marching band 
drummers that impressed me," says Billy, 
summing up his first encounters with the 
drums, "was that they never had to stop 
playing. I liked that." Billy participated in 
several school bands and orchestras with¬ 
out the benefit of formal study, but it never 
slowed him down. "In a way, I did have 
some training," he says, "because I had 
taken piano lessons when I was about six. 
When I went to the drums, I could read the 
books from what I had learned taking pi¬ 
ano lessons." 

Some people are reluctant to discuss what 
it took to reach the position they now hold. 
But Billy will be the first to tell you how he 
hung in there—with no apologies about it. 
To support himself when drumming didn't 
always make ends meet, he'd do whatever 
odd job he could to pick up extra money. 
Billy quips, "I've done a lot of crazy things. 

I drove a school bus for a while, painted 
apartments, taught, delivered pizzas—what¬ 
ever I could get." 

Billy maintains that family and friends 
are essential for the support and encour¬ 
agement they can provide when the chips 
are down. He readily credits many people 
for the position he is currently in. He also 
believes that positive mental attitudes are 
the cornerstones to success in the music 
business, no matter what your individual 
endeavor may be. 

With all the high-profile performing he 
does today, Billy still cites one of his great¬ 
est personal highlights as being the first 
time he ever heard his own playing on the 
radio for a jingle he cut. "Another bright 
spot was when I did some production on 
some tracks for a guy, and then ended up 
producing his album and doing all the ar¬ 
rangements—skills I was later able to use 
on my demo tape," Billy recalls. 

Growing up in Rochester, Billy had the 
good fortune to be exposed to drumming 
great Steve Gadd, who was also a native of 
that city. Billy found Steve's playing inspi¬ 
rational. It spurred him on, where many 
drummers would put away their sticks in 
discouragement after witnessing such mas¬ 
tery. After rising to the top of the list in 
Rochester as both teacher and player, Billy 
felt it was time to look to a bigger city. "I 
had been gigging since I was 15 and was 
working at Dynamic Studio as a drummer/ 
producer. I had already done a bunch of 
demos and jingles, and had produced other 
people. I realized I had to go somewhere 
else to do what I wanted, like playing on 
master sessions for albums." 

At a clinic in 1985, Billy had a conversa¬ 
tion with Roy Burns, who encouraged him 




by Michael Lee Briggs 

to visit Nashville to check out the scene 
and to look up Larrie Londin. Larrie, in 
turn, promoted the idea of Billy moving to 
Nashville and getting a job until things came 
together for him. "Larrie told me that the 
union hall was a good place to meet play¬ 
ers. So the last day I was in Nashville, I 
went to the union hall and heard music 
coming from inside. The country act Dave 
& Sugar were in there auditioning keyboard 
players. I went in and sat on a couch to 
watch. On a break, I went up to some of 
their people and told them I was thinking 
about moving to Nashville and was look¬ 
ing for a situation. I gave them my resume 
and tape and left town the next day. Right 
after that, their drummer gave notice, and 
they happened to have my tape and res¬ 
ume in hand." One week later, Billy re¬ 
ceived a call and took the gig with Dave & 
Sugar, and moved to Nashville to take up 
residence there. "My wife Valerie and I 
were engaged at the time," says Billy. "She 
had given me the money to visit Nashville. 
There is no way I could have achieved 
what I have without Valerie's support. My 
family life is very important to me. I'm very 

Billy continued to play with Dave & Sugar 
until he heard about Ricky Van Shelton 
from his friend Tommy Wells, who had cut 
the tracks on what was to be Ricky's first 
album. Tommy wasn't available to travel, 
so he told Billy about the job and recom¬ 
mended him to Van Shelton's people— 
which was enough of a reference for them. 
Billy's ability, talent, and personality helped 
to create a great working situation for all 

As with most dedicated drummers, Billy 
believes in the value of technical develop¬ 
ment to achieve a proficiency that allows 
unconscious execution of the music. As a 
teacher, he encourages his students to prac¬ 
tice with a metronome or to use the songs 
on the radio to keep time while practicing 
redundant rudiments, to help keep things 
fresh. Billy relates, "I'm into songs, not just 
the drumming. If you were to walk into my 
house you'd see that I have a lot of 'drum¬ 
ming' records, but nine times out of ten 
you'd hear pop music coming out of my 
stereo. There are over 800 albums in my 
house—not counting CDs and cassettes. 
I've always listened to the song—from 
Broadway shows to country to rock—al¬ 
though I do listen to the technical stuff 

Billy also focuses on the "feel" a drum¬ 
mer establishes when working with other 
players. He cites Steve Gadd, Gary Ches¬ 
ter, Jeff Porcaro, Hal Blaine, and Bernard 
Purdie as influences that helped shape his 

attitude regarding "feel" drumming and di¬ 

About his practice philosophies, Billy 
says, "I would never sit down with a record 
and try to pick out that 'exact lick.' What I 
would use is Stick Control and Advanced 
Techniques For The Modern Drummer to 
help develop coordination. I would never 
practice slow and start speeding up, like in 
high school when they teach rudiments and 
call it 'open to closed.' It was always my 
opinion that the drummer's job was to keep 
the time straight, so you shouldn't practice 
speeding up because then you'll speed up 
when you play. I would practice things at 
different tempos, but I'd set the metronome 
to one tempo, practice, and then stop and 
reset the metronome to a different tempo. 
For set playing, I would practice along with 
records to get the feel and structure of a 
song. I'd always play my own fills, and I 
encourage my students to do that also. I 
also tell them to play with a variety of 
different styles—and not to listen just to the 
drummer, but to hear what everybody has 
going on!" 

Even though he works with a highly vis¬ 
ible artist like Ricky Van Shelton, Billy al¬ 

ways has time—or makes time—to talk 
drums with anyone who has a question for 
him. His consuming passion for drumming 
gave him a solid playing foundation, while 
his positive, Upbeat personality and enthu¬ 
siasm shines through in his playing. Being 
the consummate perfectionist, Billy de¬ 
mands a lot from his equipment and en¬ 
dorses Pro-Mark drumsticks, Tempus drums, 
Sabian cymbals, Evans drumheads, and 
RIMS by PureCussion. 

With six Top-10 hits and four Number-1 
hits on the Country Music charts in 1988, 
there would seem to be few hurdles left for 
Billy to clear. But he hasn't got time to 
relax; he is perpetually in motion. When 
he isn't on the road, he plays with other 
artists and pursues his fascination with pro¬ 
duction in the recording studio. "I've al¬ 
ways loved recording," says Billy, "espe¬ 
cially when you have a good song to start 
with. I record at this little studio near my 
house with my rock band or just do drum 
and keyboard stuff on my own. In the stu¬ 
dio not only can I be a drummer, but a 
vocalist, a composer, an arranger, and a 
producer too!" isgi 



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316-225-1308 ■ FAX 316-227-2314 

Bass Omm 

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SI 10, 12, 14, IS Resonajit Torn White 





Transcribed by William F. Miller 

W a" 


■B A M r jML 


F i V E f 

Phil Jones: 

"RunnirY Down A Dream" 


This month's Rock Charts features one of the singles off of Tom Petty's recent solo album, Full Moon Fever (MCA-6253). 
On "Runnin' Down A Dream," Phil Jones doesn't do anything too fancy. Instead, he just lays down a solid groove that 
just jumps out of your car speakers! Phil varies the hi-hat pattern between quarter notes and 8th notes throughout, and 
near the end of the tune he opens up the hi-hat a bit to add more excitement to the track. This is a great chart to play 
along with because it's not very difficult to read and it really feels good. Give it a try! 

There is one tricky section that appears two bars before letter C and 17 bars before letter E. At these points in the chart 
a floor tom is indicated in the part, even though it sounds as if it may have been overdubbed. One way to play these 
sections is by playing the hi-hat with the left hand and moving the right hand between the snare drum and floor tom. If this is too 
difficult, leave the floor tom out. 


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Introducing fearl's new Custom Classic Snare Drums, formed from a single piece 
of hand selected solid rnaple. The idea isn’t new. but the patented shell forming 

process and related technology definitely is. Custom Classic's thicker one-piece shell 
(75 mm) doesn’t need inner glue rings for strength that can rob resonance, sustain 

and contaminate the consistency of a smooth, 
unobstructed air chamber. 

But a pure classic sound is not all this drum 
has going for it. New brass plated "bridge" type 
minimum contact tugs, thick solid brass hoops, 
and gold plated high carbon steel snare wire add 
tfte finishing visual and functional touches to tins 
outstanding instrument... a true custom classic 

At age 10, 
he couldn’t imagine 
what it would feel like 
to play the world’s 
greatest drums. 


Modern Drummer is now gathering information on drum teachers around the world. We'll be 
using this information to produce a Drum Teachers Listing that will encompass all styles of drumming. 
The listing will be presented in a future issue of Modern Drummer as a special service for all MD 

If you teach drumming and would like to be included in the MD Teachers Listing, please fill out the 
profile below (or a photocopy} and mail it in on or before February 15, 1990. 

Mail your Profile to: Modern Drummer, 870 Pompton Avenue, Cedar Grove, New jersey 07009 

Attention: Drum Teachers Listing 


Name __ 


City -----. State —-Zip- 

Telephone ( ) 

Other Teaching Locations Available dlYes dNo 

Store Name __,_ 

Address ___ 

City --State —-- Zip - 

Telephone { ) 

Will Teach At Student's Home: d Yes d No 


Years Of Playing:___ 

Years Of Private Instruction:_ 

Years Teaching: ______ 

Formal Education (Schools & Degrees): 

I Professional Experience: 

Books Or Articles Published: 

Levels Taught: 

Drum Styles Taught: 

HU Beginner 
d Intermediate 
d Advanced 

d Rock 
d Funk 
d Show 
d lobbing 
d Latin 
□ Symphonic 

□ Jazz 
d Fusion 
d Big Band 
d Studio 
d Rudi mental 
d Other 

Other Percussion Taught: 

d Timpani Q Mallets 
d Orchestral Percussion 
d Latin Instruments 
d Other 

Areas Of Emphasis: 

Teaching Aids Used: 

d Reading d Technique 

d Coordination 
d Contemporary Styles 
d Other 

d Video d Electronics 

d Recording Techniques 
d Other 

Currently Teaching: d Full-time d Part-time 

Average Number Of Students Taught Per Week:_ 

Brochure Available: O Yes □ No 








Manu Katche 

Y A M fl H fl' 


t’ripyriglil Yatnulut (WpOfJitron of Animcii. Sytitin.’sij'rr. f iiiitac andTh'imi I Jivisimi . Aw . F^Ui-n;! Park. C'A 

ttILEY continued doni page 27 


• The World’s Class Drumsticks 

10707 Craighead Drive • Houston, Tfexas 77025 

713 / 666-2525 

get your act together. What did that consist 


SR: They had to do the photos, and I had to 
get outfits. I wasn't into it, with the horror 
and making faces when you're taking pic¬ 
tures—the whole scene that went into 
WASP. The hard part wasn't playing drums 
for WASP, but getting into the vibe they put 
off. It was a crash course in two weeks. 
First you're normal, and then you're an 

RF: What did you do to get into that vibe? 
Was it just, "Well, it's a job"? 

SR: I wanted it so bad, and I knew what 
they had going for them. At the time, I 
really thought WASP had the chance of 
becoming the second Kiss—from the way 
the first album sounded, from the press 
they got, and from their performance and 
the management. When they told me I had 
to do all the faces and everything, I thought, 
"Screw it, I'll do it." Lessons on being a 
ghoul. But I was really impressed with the 
way they were running things, so I made 
that much more of an effort. 

RF: What did you do to learn the music in 
two weeks? 

SR: Same thing as Keel. I got the album, 
listened to it, and rehearsed my ass off with 
them until we left for England. During the 
days, we did photo shoots and interviews, 
and at night we rehearsed for eight hours. 
This was for two weeks, so by the time 
England came around, I was drained, and 
it was almost a pleasure to get on with it. 
RF: Beside the vibe and the faces and all 
that, there was a whole show, theatrically, 
that you had to learn. What went into that 

SR: It was the first time where I played with 
a band that was very organized on stage. 
Their stage show was organized almost a 
little too much for me. It got a little bit 
grating at the end of my time with WASP. It 
was too precise. We were all on cues. We 
tried to run it like a theatrical performance, 
where everything was cued and Blackie 
would dictate the meter. 

RF: Explain the cues and how he dictated 
the meter. 

SR: We would know where different song 
cues were. Each song was turned into an 
event. We would stretch the middle sec¬ 
tions out and add new intros and endings, 
and the song would be in there somewhere. 
We were famous for our big endings. It was 
also the first band where I was really sing- 



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Heal drums never sounded so good. 
Digital drums never felt so good. 
25 Ltndeman Drive 
Trumbull, CT 06611 

( 203 ) 374-0020 

ing. I had a prominent singing part in the 
background, so that was a different thing. 
RF: Did that affect your playing? 

SR: It did in a way, because I don't sing 
anymore. I could do it, but I really had to 
bear down and concentrate, and watch 
Blackie dictate the meter, too. How he felt 
that night would dictate how fast this thing 
would go. His arm would go in a down¬ 
ward motion when he wanted to slow the 
meter down. When he wanted to bring it 
up and he felt he had to get that crowd 
going, he would go on an upward motion 
with his back towards me. So I'm singing, 
playing the drums, and also watching this 
dude run around dictating the meter. We 
beefed about that a lot. 

At first I was really impressed because 
Blackie was so organized, but the biggest 
mistake he made was firing the guitar player, 
Randy Piper. It was a stupid reason that 
had nothing to do with the band or the 
music. Randy was really important to WASP 
to keep the connection with the kids, and 
Blackie fired this guy. Then Blackie dropped 
the bass and gave it to Johnny Rod, and 
started playing guitar again. It was not a 
band anymore. He was making all the de¬ 
cisions. He was doing all the album cov¬ 
ers. It said "WASP," but it was his face, and 
he was doing all the interviews. He would 
come to rehearsal all pissed off because he 
had been working all day, so during the 
second world tour, I said, "Why are you 
doing all this single-handedly? Why don't 
you spread it out a little bit, which will take 
some of the pressure off of you and get the 
band involved so we look like a unit?" He 
didn't dig that at all; he didn't want anyone 
to challenge him. I knew I was out of there 
sooner or later. I knew it wasn't going to be 
the big dream I had; it wasn't going to be 
Kiss, Part II. 

Blackie started hinting that he wanted to 
go solo. I was already looking for some¬ 
thing else, although I wasn't making it real 
out front. I was just keeping my ear to the 
ground. It was kind of a disappointment 
that I had to be looking again, because I 
realized that WASP wasn't going to do it. It 
was a reality check. It was, "I can't believe 
I'm looking for another gig!" Blackie was 
more or less bullshitting me. He said he 
wanted to make a change, and then I got 
the gist of it. I said, "Oh, I see what you're 
saying. You want me out of the band," and 
he came clean and said, "Yeah, that's it." I 

said, "You know, I'm an equal member of 
this band and you can't kick me out of it," 
although I was really digging that I was 
out. I went to the management and they 
said, "These things happen." I just said, 
"You know I'm going to go on and I'm 
going to see you down the road, and I'm 
going to be doing something bigger than 
this thing. I'll see you in another day." And 
I did see him in another day. Iron Maiden 
needed an opening act at the Forum, and 
they asked LA. Guns, not WASP. The man¬ 
ager was there with Iron Maiden, so I saw 
him down the road. 

RF: Did you come out ahead in the WASP 

SR: I made money, but I lost money in 

WASP, too. Blackie was running the whole 
thing, and he kept the overhead so 
enormous that we were continuously dig¬ 
ging a hole. WASP was a production deal, 
too, so it wasn't set up like a regular record 
deal where the four members of the band 
were signed to Capitol directly. We went 
through the management company, who 
had a production company, and because 
of their success with Iron Maiden, they were 
able to get a lot more money out of Capitol 
than WASP would have alone. But I learned 
that most of the time it is better to be signed 
to that label yourself, not the production 
company. In that situation, the production 
company comes out ahead because they 
get to distribute the money. Even though I 

by Ed Mann 

Modal, tonal, and technical concepts 
for maflef players & other instrumental¬ 
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Trumbull, CT 06611 

( 203 ) 374-0020 


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was in the band and owned a quarter, I 
was a secondary player as far as the money 
coming in. So it was another lesson to keep 
your eyes open on the business side too, 
otherwise you can make a lot of money but 
you won't get it. WASP was a classic case 
of that. 

RF: What happened after WASP? 

SR: I went right over to S.I.R. with my drums 
to start playing every day again. I rented 
the small room for about $12.00 an hour 
for four hours a day, three days a week. I'd 
go in there and just play by myself, and 
Tracii [Guns] and these guys were rehears¬ 
ing next door. It was identical to the WASP 
situation, because they had just finished 
their first album and were kicking their 

drummer out. Tracii knew me for years and 
he said, "Would you want to do this?" It 
was a big step backwards from what I had 
been doing. I just mean from the stand¬ 
point that these guys were going to play 
clubs around here. They didn't have a tour, 
they had very weak management, and I 
had to sit down and think about it. I really 
liked the band, and I thought they were 
going to be happening, but it was a scary 
time when I joined. That was in '87, and I 
went from headlining the Long Beach Arena 
in March with WASP to playing the Trou¬ 
badour four months later. 

RF: Musically how did you feel? 

SR: Much better. They let me open up in 
this band. My drumming in WASP was 

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pretty structured to the way Blackie heard 
it. The whole band was structured to him. 
Even in pre-production for the albums or 
the tours, I played licks, fills—not all, but 
75%—to what he was hearing. When I 
joined L.A. Guns, they liked my drumming 
and said, "Open up." 

RF: What exactly do you mean by "open 

SR: They said, "No boundaries, just play 
the way you play. Play what you hear"— 
even when we played the song from the 
first album, which I wasn't on. It was like 
letting me out of the cage! Freedom city! 
On the second album, they let me go wild. 
RF: In what areas did you have more crea¬ 
tive freedom? 

SR: The songwriting, definitely—the five of 
us wrote all the songs together. We would 
bring in pieces and put them together. It's 
the first time I've been in a band like that. I 
think it was a blessing coming from WASP 
because these guys were fans of theirs and 
they really admired me from there. So there 
was a little respect built in. When they 
brought in pieces, they just let me go on 
them—fills, endings, beginnings, every¬ 

RF: How do you compose the parts you 

SR: I'm left-handed and I play drums right- 
handed, so I'm ambidextrous. I play right- 
handed drums, but I play left-handed bass. 
I'm just learning howto play bass. I can get 
the root of the note down and show the 
band that way. I think about a song in my 
head and I sit down with Tracii or Mick, 
one of the guitar players, and I sing the 
actual progression to them and have them 
play it back to me, and we'll put it down 
like that. "Give A Little" is one that I wrote 
in the Bzz in Chicago; it's something I just 
always had. 

RF: Why did you play right-handed drums? 
SR: It's the way most drummers play. Back 
when I started, I don't think there were 
many left-handed drummers, and the 
people I was looking at—Krupa, Rich, 
Ringo, Charlie Watts, Ginger Baker, and 
Cozy Cole—were right-handed, so I auto- 


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matically played that way. I wrote left- 
handed, but I never thought about playing 
anything but right-handed. 

RF: Were there any difficult tracks on this 

SR: The ones where I really had to bear 
down were "Malaria" and "Magdalaine." 
Those are the two long songs on the al¬ 
bum. We didn't want to write a safe album 
this time. The first album they did was pretty 
safe; there were 11 tunes that could have 
easily been singles. We knew we had to 
deliver at least six or seven of that type of 
song this time, but we wanted a couple of 
epics that had ups and downs in them, and 
they're just structured differently than a 
radio song. "Magdalaine" is sort of like 
Zeppelin's "Achilles Last Stand," and "Ma¬ 
laria" is almost structured like Aerosmith's 
"Sweet Emotion," but it's a real long piece 
because the middle section breaks down 
and we have tons of percussion going on. 
Then it goes back to the song and breaks 
down again for this other percussion sec¬ 

RF: What did you use on the percussion 

SR: A number of percussive instruments, 
from woodblocks to shakers to RotoToms 
to timbales—you name it. What we wanted 
to do was have just the kick drum keeping 
the meter, and everything else layered on 
top of it. Tracii is using a number of guitar 
special effects too. It was fun. 

RF: How are you going to do that live? 

SR: We obviously won't have as many in¬ 
struments going at the same time, but I'm 
going to improvise in that section and do 
something different for the live show, some¬ 
thing just as exciting. 

RF: How do you get the drum sounds you 

SR: I use all acoustic drums. I have tried all 
the electronics, from Simmons and Dyna- 
cord, etc. I don't put any of those systems 
down, but they're not right for me. I have 
tried every option a soundman could bring 
to me to enhance the sound, but my drums 
are really big, and I tune them really wide 
open. There's not a lot of tape or pads on 


Real drums never sounded so good. 
Digital drums never feft so good . 
25 Lindeman Drive 
Trumbull, CT 06611 

(203) 374-0020 

REPRINTS of most 
MD Feature Articles 
and columns ARE 
available! Call the 
office for a 
price quote 

my drums, and my snare drum is not trig¬ 
gered at all, and it stands up to any drum 
that is triggered. I mean, I never heard 
Buddy Rich or John Bonham with triggers. 
I've experimented with a bunch of Tama 
models, and I'm playing the Artstar II right 

RF: Double bass? 

SR: I was playing double bass in the last 
three bands I was in, but I'm back to single 
kick, and it's great. It's so comfortable. And 
I have one rack tom, two floor toms, and 
not a lot of cymbals, so it's back to being 

RF: Was there an adjustment going from 
double bass to single bass? 

SR: Mat all, because I really had the 

double kick set up for looks. I didn't really 
play it that much. I'd use it in the drum 
solo, but never for any licks. I've always 
played single kick, with the ride cymbal 
mounted on the bass drum, and with the 
one rack tom—the Buddy Rich setup—and 
it's so comfortable. I am going to do a 
drum break this year, and I wanted to do 
something different, but I wanted to stay 
acoustic, so I bought a timpani and I'm 
going to incorporate it into my drum solo. 
It's acoustic, but I can get pitches that sound 
electronic out of it. It has the footpedal on 
it, so I can adjust the tension and get a lot 
of deep and high tones out of it, but still 
stay in the acoustic mold. 

RF: Aside from "Malaria" and "Magdalaine," 

follows up his DCI 
video debut, Back To Basics , 
with the long awaited release of 
77ie Next Step. 

The Next Step-take it! 

Please add $4.00 shipping and handling per order ($5.00 
per tape outside the liS,). 

N V. Slate residents add B,25% sales lax. PAL a va liable - 
add S6.Q0 AOnw 2-3 weeks for delivery. 

Make check or money order payable to: 

DOE Music Video 
541 Avenue of the Americas 
Mow York NY 10011 





S ignatu re 

To order by phone (Visa/MC} call: 
1-800-342-4500 (N.Y. State 212-691-1884) 

In Canada: Must he paid with International Money 
Order or check drawn on U.S, hank 
In Europe: Music Mail Ltd., 142 Cromwell Rd.. 
London SW7 4EF, tel 01-857-6309 

MD 01/90 

Please send me: 

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which are your favorites on the album? 

SR: We already have the singles picked 
out. One is "Rip And Tear," which is just a 
straightforward rocker. We want to make 
sure we nail our core audience. Once we 
have them back in our camp again, we 
want to release something like "It's Never 
Enough," which is a song that is L.A. Guns 
right to the "T," but the vocals and the 
harmonies bring it to another level. It'll get 
much more radio play than anything we've 
ever done. It's sort of structured for the 
wider audience. We don't want to just get 
on Headbangers Ball. We want to get on 
heavy rotation, and the only way to do that 
is by thinking about structuring the songs 
that way. A lot of people will say that we're 

selling out to get on heavy rotation, but it's 
not that at all, because we're happy with it. 
It's something we did purposely to get more 
mass appeal. 

RF: Are you the official leader of the band? 
SR: Yes, but when I say "leader," it's not 
like I'm the boss. I make sure that the band 
gets taken care of all the time. I've been 
through so many record deals that I know 
when something is right and when it's not. 
I'm not bragging, but I found out the hard 
way, so I do most of the business for the 
band. I do all the contacts with the man¬ 
ager, the business manager, and the attor¬ 
neys, you name it. It's only because I'm 
more experienced at it than they are. 
They're all younger than I am, and for three 

flint*65 Hawn. Woiiitici 

I personally stand behind 
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J, began Latin Percussion over 25 years ago because of my deep love for 
Latin music. In the beginning, there was no percussion industry. 

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idols. Satisfying their needs forced me to refine and improve my products. 
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of them, it's their first record deal. 

RF: If you had the gig of your dreams, what 
would that be? 

SR: Remember I was talking about that solo 
album I'd like to do? That's the gig of my 
dreams. It would probably be an instru¬ 
mental gig, and it would probably be some¬ 
thing like Jeff Beck did with Blow By Blow 
and Wired or something like Chick Corea 
did with Return To Forever. I'm looking for 
something that challenges me, and that's 
where I'm ultimately going to end up, some¬ 
thing that is instrumental with musicians 
who are the best at each position. It's not to 
take anything away from any of the bands 
I've been with or L.A. Guns, but it's like I'll 
be on the tour bus and everybody will be 
listening to all the rock shit, and I'll plug in 
something like Wired. There are no vocals, 
and everybody is just wailing on their in¬ 
struments, and a lot of rock musicians aren't 
into that. I really feel like I'll have to do 
that. I feel that rock is a job. I enjoy it to a 
certain point as a musician and business- 
wise, but in the stuff I want to do, I'm not 
going to make a lot of money. I'm already 
into this up to my neck, so I might as well 
try to make some money so I can get to the 
point where I want to go. And in the mean¬ 
time, I'll enjoy it. [«&»] 


25 Lindeman Drive 
Trumbull, CT 06611 

(203) 374-0020 

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Rock Jazz, and Latin Patterns Using Two 
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Everything Is Timekeeping 
DCI Music Video 
541 Avenue Of The Americas 
New York NY 10011 
Time: 85 minutes 
Price: $49.95 (VHS/Beta) 

DCI's latest treat is a video, with ac¬ 
companying booklet, featuring the 
always fascinating drumming of Pe¬ 
ter Erskine in jazz trio and solo set¬ 
tings. The trio—John Abercrombie on 
guitar and Marc Johnson on acoustic 
bass—is a superb setting in which to 
highlight Erskine's diverse palette. And 
the several solo segments are drum¬ 
ming gems of cohesive concept and 
technical virtuosity. His "Latin 
Groove" solo is guaranteed to wow 
you, and the concluding solo of the tape is a masterly example of 
texture and theme development. 

Erskine's tutoring style is amiable, concise, and informative. He 
brings out the details of technique while maintaining the impor¬ 
tance of a holistic approach: Ideas, expression, and drawing from 
personal experience are all essential ingredients for successful 
results. Topics discussed and demonstrated include ride cymbal 
concepts and technique, tempo concepts, basic jazz independ¬ 
ence/coordination exercises (transcribed in the booklet), pedal 
technique, improvisation, and brush technique. (Brush-stroke pat¬ 
tern diagrams are also in the booklet.) One musical highlight is the 
trio's performance of Erskine's composition "Sweet Soul." The 
ultra-slow tune is used to demonstrate concentrated control of 
tempo and the importance of allowing space. The trio also cooks 
through some uptempo straight-ahead jazz numbers, turns in some 
beautiful ballad playing, and shines especially strong on 
Abercrombie's haunting and lyrical "Ralph's Piano Waltz." 

The video's level is listed as "beginner to pro," and in the ride 
cymbal section, Erskine enlightens us with an observation proving 
once again that back-to-basics re-evaluations are often eye open¬ 
ers for even the most advanced musicians. He recalls listening to 
some of his early recordings and discovering that the cuts weren't 
truly swinging. The ride cymbal beat, he decided, was the culprit. 
Changing his approach to this same traditional jazz ride cymbal 
beat, as he clearly demonstrates, resulted in a great improvement 
of clarity and feel. This kind of sagely advice is worth more than 
100 chops-building exercises. Everything Is Timekeeping is worthy 
of many viewings, especially the performance segments, and while 
you're digesting it all, you will be happy to know that Part II is 
expected from DCI soon. 

—Jeff Potter 



With Jim Payne 

DCI Music Video 

541 Avenue Of The Americas 

New York NY 10011 

Time: 54 minutes 

Price: $29.95 (VHS/Beta) 

How To Play Drums From Day One is, 
as the title suggests, a video for the very 
beginning drummer. The basic method 
teacher Jim Payne utilizes on this tape is 
one where the player vocalizes different 
sounds for each drum or cymbal, and for 
different combinations. For example, a 
snare hit is vocalized as "a," a hi-hat is 
"pic," and a hi-hat and snare hit simulta¬ 

neously is sounded out as "pac." By vocalizing simple beats and 
techniques, suggests Payne, students are able to grasp these con¬ 
cepts more quickly. 

Topics that the video covers include advice on how to buy 
equipment, how to hold drumsticks, single strokes, open hi-hat 
sounds, simple rock 'n' roll, blues, funk, and shuffle beats, reading 
drum notation, fills, and two-hand hi-hat style. Payne demon¬ 
strates the various subjects with and without (unfortunately rather 
cheap-sounding) keyboard accompaniment, and the entire tape 
can be followed along using the included booklet. Payne's vocal¬ 
izing system seems like it would work very well. (The booklet's 
liner notes say that the method was inspired by the vocal tradition 
of Indian tabla instruction.) Payne seems very comfortable in front 
of the camera, his presence and delivery are clear, and his fre¬ 
quent referrals to the written notation both in the booklet and on 
the tape are very beneficial. One note about the booklet: The 
musical example of a basic shuffle beat on page 33 seems to have 
been mistakenly replaced by a duplicate of the two-hand hi-hat 
pattern on page 35. An example of a medium blues shuffle is 
correctly shown on page 34. Aside from this, though, the booklet 
is quite lucid and helpful, one nice inclusion being suggestions of 
popular songs where some of the beats that are covered can be 

Overall, How To Play Drums From Day One is an excellent 
introduction to drumset playing. It moves along at a nice pace, 
covers a good deal of territory, offers several different camera 
angles of each example covered, and is hosted by a very capable 
clinician in the person of Jim Payne. This is one case where a 
sequel should be highly anticipated. 

—Adam Budofsky 

The Next Step 
DCI Music Video 
541 Avenue Of The Americas 
New York NY 10011 
Time: 80 minutes 
Price: $39.95 (VHS/BETA) 

Dave Weckl's The Next Step is a 
follow-up to his impressive video 
debut, Back To Basics. In this chock- 
full 80 minutes, master Dave dis¬ 
cusses and demonstrates his wares 
in a clear, well-organized format. 
As is usual with DCI videos, it's pre¬ 
sented in a no-nonsense style with 
quality audio and a merciful avoid¬ 
ance of any distracting clever cam¬ 
era or editing techniques. The vari¬ 
ous camera angles are used to their 
best advantage, focusing on the 

The first segment, "Time Playing," concerns internalizing of 
subdivisions, the importance of a drummer's count-off, pulse nu¬ 
ance, and pointers on the different approaches required for play¬ 
ing with a lone click track versus playing with a sequencer. Dave's 
jazzy solo here, exemplifying practicing over a click with loose 
phrasing, is a beauty. 

The ever-popular topic of "Groove Playing" is a segment also 
offering good tips. Dave demonstrates the hi-hat method of rock¬ 
ing the sticks from shoulder to tip for pulse-enhancing dynamic 
gradations. In discussing "Creating The Part," he demonstrates two 
valid approaches to the same pre-recorded track. But the most fun 
in this section is his demonstration of the technique that he and 
Chick Corea have dubbed "playing backwards." This ear teaser 
involves consistent time displacement of a particular pattern. Start¬ 
ing from simple examples, Dave expands the idea within a tune to 
prove that, yes, it really can be used musically rather than just as a 
pedantic exercise. 








"Odd Time Playing" is an especially helpful and practical sec¬ 
tion that teaches howto more easily feel 5, 7, and 9 meters and, as 
might be expected, the "Soloing" section is a dazzler. The focus 
here is the different approaches that should be considered when 
playing within the very different contexts of soloing totally a Cap- 
pella, over a comp, or within a piece of music. A set of exercises 
are outlined that break down the basics of the alternating hand-to- 
foot triplet and 16th-note licks that play so prominently in the tom 
fill sound found in the Erskine/Gadd/Weckl school. 

Many of the pre-taped tracks over which Dave plays live are 
taken from his DCI cassette and book package, Contemporary 
Drummer + One. For those who have studied that material, this 
video will shed further light on the execution of those tracks. A 
video picture is worth a thousand words in this worthwhile re¬ 
lease, and the playing segments are surely the highlights. Let's 
hope that The Next Step is but one stride towards many more. 

—Jeff Potter 


M&K Productions 
818 Green Ridge Circle 
Langhome PA 19047 
Time: 78 minutes 
Price: $39.95 

This is a combination videotape- 
and-book package that presents 
the playing style and concepts 
of Les DeMerle in an entertain¬ 
ing and educational manner. 
Well-produced in terms of mul¬ 
tiple camera angles, splitscreens, 
good sound, etc., the tape fea¬ 
tures Les in three formats: an 
interview/discussion setup with 
producer Kevin Gazzara, in 
conversation and demonstrations directed at the viewer, and in 
performance with his band, Transfusion. The accompanying book 
offers transcriptions of the exercises and concepts that Les demon¬ 
strates, along with charts from the various tunes performed with 
the band. Everything is clear, straightforward, and easy to work 

In terms of educational content, Les offers tips on how to incor¬ 
porate rudimental chops and finger technique into drumset play¬ 
ing, focusing especially on roll-and-paradiddle combinations that 
can be used musically on the kit. He goes on to demonstrate a 
large number of what he calls "rock/fusion beats," and then offers 
an excellent segment on "drumset colors"—the use of mallets, 
brushes, multi-rods, and bare hands on the kit to obtain a variety 
of sounds. Ultimately, everything that Les demonstrates in the 
"lesson" segments is reinforced in his "performance" segments 
with Transfusion, so the musical application is made readily ap¬ 

It should be noted that Les DeMerle's playing and soloing style 
comes a great deal more from the rudimental/big band school (a la 
Rich, Bellson, Krupa, and Morello) than from the more contempo¬ 
rary jazz/funk school of, say, Dave Weckl or Steve Smith. This is 
not surprising, since Les himself states in the video that he is "a 
strong believer in tradition," and that he was influenced by the big 
band drummers. He also spent 12 years playing in Harry James' 
band, so it's easy to understand Les's approach to "fusion." Les 
also cites a personal affinity for R&B music, and that, too, shows in 
the heavy 2-and-4 backbeat grooves that he incorporates into his 
rock/fusion beats. I don't state any of this to fault Les's style; he's a 
dynamic player with tremendous technical facility. I only mention 
it so that you'll be aware of what you'll be getting from Les: a lot of 

sticking-oriented soloing, some solid, groove-oriented drumming 
with the band, and a good dose of historical influence. 

The only thing I found objectionable in the video was the little 
"interview" segments interspersed throughout. With the exception 
of one long segment where Les and Kevin Gazzara discuss Les's 
background and personal philosophy, the others seem designed to 
"set up" each instructional segment that follows. That would be 
fine if Les didn't do exactly the same thing by himself during that 
segment. I found this double-introduction a bit redundant. Other¬ 
wise, the tape is excellent, the accompanying charts are clear, and 
the material is readily applicable. 

—Rick Van Horn 

by Bobby Rock 
Syntax Music Video 
8033 Sunset Blvd., Suite 110 
Hollywood CA 90064 
Time: 87 minutes 
Price: $49.95 (VHS only), 
$59.95 for video and 
accompanying workbook 
At the beginning of this video, 
Mr. Rock explains his concept 
for Metalmorphosis basically as 
the bringing together of different 
drum styles into the heavy rock 
format. What this means is that 
certain elements of Latin, funk, 
and other styles can be used in a 
heavy rock situation, if properly 
"metalmorphosized." In this 
well-produced video, Bobby 
really has his concept together; 
he knows just what to say to explain his points, and he has the 
technical ability to sit down and play his sometimes quite difficult 
examples. For rock, heavy rock, and metal drummers, there's 
some valuable information here. 

Timekeeping is the first topic Bobby addresses, and he offers 
suggestions regarding dynamics and how they affect beats, synco¬ 
pated beats, ostinato patterns, linear patterns, and Latin grooves, 
all tailored for a heavy playing style. The timekeeping section ends 
with Bobby performing his "monster" pattern, which is a rather 
involved independence beat. With all of the examples presented, 
Bobby thoroughly explains what he's doing so that there are no 
mysteries. Other topics Bobby discusses include applying rudi¬ 
ments to a heavy-rock format, double bass drumming, and solo¬ 
ing. Although you may have heard a few of his licks before, many 
of Bobby's ideas are very original and could be great inspiration 
for the up-and-coming rock drummer. 

Another outstanding point about this video is its look; many of 
Bobby's solo sections are shot on film, while the interview por¬ 
tions are shot on videotape. It makes for a lesson that's more fun to 
watch. Different locations are used as well, including interview 
sections where Bobby is outside sitting on a dumpster, in the 
control room of a recording studio, and even in a gym (during the 
section on weightlifting)! There's just enough of these sections to 
add to what's going on and not get in the way. 

If you've seen any of the hard-rock drumming videos out today, 
you may have noticed that many of them aren't that organized. On 
Metalmorphosis, Bobby knows exactly what he wants to say and 
makes his points directly into the camera—no scripts or Tel- 
ePrompTers—and that's also an advantage. Overall, the point that 
Bobby makes in this video is that there is room for creativity and 
great playing in heavy rock and metal, and on this tape he proves 

— William F. Miller 





Season Of The 

by Emil Richards 

A few months ago I worked on a lot of the big movie sequels that 
came out this past summer. There was a great deal of percussion 
used on these scores, and this month I would like to talk about 
some of them. Some of the sequels I worked on included: Star Trek 
V (Jerry Goldsmith composer), Indiana Jones & The Last Crusade 
(John Williams composer), Ghostbusters II (Randy Edelman 
composer), Lethal Weapon II (Michael Kaiman composer), and 
Karate Kid III (Bill Conti composer). 

Prior to most of these sessions, each composer contacted me to 
tell me they wanted to come by the warehouse where I store all of 
my instruments, to discuss which ones would be used on the 
sessions, and how many percussionists would be needed to per¬ 
form the music. It is most gratifying to know that most of the 
Hollywood movie composers really do their "homework." By that 
I mean they take a great deal of interest in the percussion section 



WELCOME TO ODD TIMES by Michael Lauren 
This book enables set drum- 
rcers of develop their playing 
in time signatures other than 
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and in the instruments they use for their scores. I might add that 
the above mentioned composers are extremely knowledgeable of 
ethnic percussion instruments, their origin, and their applications. 

It seems that there is a trend toward less electronic, more or¬ 
ganic percussion in film writing. Not that there is less electronics, 
but rather there is more live percussion being used again. I think 
we will find that electronic keyboards and percussion will find 
their place as a separate section of the orchestra, and that there 
will be a continuing trend back to live, organic percussion. 

Because of this attitude towards live percussion, all aspiring 
percussionists should learn as much as they can about as many 
different areas of our section as possible. You should encourage 
your schools, your drum shops, and your P.A.S. chapters to sched¬ 
ule percussion clinics of every standard and ethnic area of percus¬ 
sion. If you are a mallet major, you should consider the cimbalom, 
the santir, and the dulcimer as part of your mallet awareness. If 
you are a hand percussion major, you should consider all of the 
frame drums, tabla, and udu drums. If you are a percussionist, you 
should consider yourself a "student" for life, because even if you 
live to be 100, you will not have covered all there is in our field! 

Getting back to "the sequels," I've included the first two pages 
from some of the parts I had to play. Note cue 10/11 M 3/1 from 
Indiana Jones & The Last Crusade. There are six players required, 
four listed on one score, two on the other. Each player has from 
two to ten instruments to play. John Williams doesn't use a click 
track very often, so his conducting was approximately 8th note = 
120 . 

Note cue 12 M 1 from Ghostbusters II. I played the bell part to 
this and used a LRR sticking all the way through. It can also be 
played hand-to-hand starting with the right hand. The tempo for 
this piece was quarter note = 120. 

Note cues 5 M 2 pt.1 from Lethal Weapon II. Many times your 
music is written as a percussion score with all four lines written 
out. This can be helpful, as you get a chance to follow the other 
lines as you are playing your own line. The tempo for this piece 
was quarter note = 120. 

In cue 5 M 2 pt.2 from Lethal Weapon II, it says at the beginning 
of the cue "8 Free To Bar 1." This is an indication of eight free 
clicks (tempo of 180 on metronome) before bar A, where the parts 
come in. One other thing to notice on these parts is the number of 
staffs shown. Even though there are lines for four players, notice 
how the part shows three staffs for three players, then two staffs for 
two players, then back to three players, then four players, and then 
to one staff for one player. This can be quite confusing, but you 
must get used to all reading possibilities. 

Notice how on every composition the instruments are all listed 
at the upper left-hand corner of the first page. We have instructed 
all of the copyists to list all of the instruments required in a piece 
this way, so we won't have any surprises when we turn the page. 
Also, this allows us to know what to set up for each cue. 





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mers turned out for the Gene Krupa com¬ 
petition, sponsored by Pic magazine. This 
helped his reputation. At about this time, 
Stoller began studying with Henry Adler, a 
New York drummer who was making a 
major reputation for himself as a teacher. 
Stoller's experience with Adler, in addition 
to what he had already learned from Willy 
Kessler, provided the strong foundation he 
would take into major big bands. 

Adler got Stoller jobs with the Van Alex¬ 
ander and Teddy Powell bands. The drum¬ 
mer went on the road for the first time. His 
experiences, some of them quite humor¬ 
ous, still make him chuckle. Musicians 
would play tricks on one another and "put 
on" leaders as well. It was all a matter of 
youthful energy and mischief, none of it 
really harmful. Also during this time pe¬ 
riod, Stoller worked with Raymond Scott, 
who had an experimental ensemble that 
tested the youngster's musicianship. 

In 1941, at age 16, Stoller got a key call. 
"Freddy Goodman, Benny's brother, phoned 
me from Buffalo and asked me to rush up 
there," he recalls. "Benny and the band 
were at the Chez Buffalo Theater, and Ralph 
Collier had to leave to get a cyst operation. 
It was very exciting for me to get that call, 
after all, Benny had one of the top bands. I 
don't remember just how I played. But I 
must have been on the right track. I got 
along fine with Benny—I guess I was too 
naive to know whether he was giving me 
the famous 'ray' or not—and I stayed on 
until he broke up the band a few months 

"Mel Powell, the great pianist and ar¬ 
ranger/composer, joined the band the day 
after I did. He was just a year older than 
me. I recorded his 'Mission To Moscow' 
with the band, as well as several things that 
Dave Matthews arranged for Peggy Lee—'I 
Got It Bad,' 'All I Need Is You.' All in all, it 
was a good experience. I did my job—kept 
time, established a good groove. Those were 
the two things Benny wanted. I dealt with 
the show pieces like 'Sing, Sing, Sing' with¬ 
out too much difficulty; my studying was a 
factor in being able to play material like 

By this time, Stoller had left high school. 
The demands of an increasingly successful 
career made further attendance impossible. 
People around the music business had taken 
a liking to him. Before long, he joined Les 
Brown fora brief period, then was engaged 
by singer Vaughan Monroe. The band was 
hot. It drew great crowds everywhere it 
played. In addition, Monroe's band was 
featured on the weekly Camel radio show. 
It certainly was not as interesting and pro¬ 
vocative as the one led by BG. But the 
Monroe stint and the three years Stoller 


Real drums never sounded so good. 
D^gital drums never felt so good. 
25 Lindeman Drive 
Trumbull, GT 06611 
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spent with the Charlie Spivak Orchestra 
proved to be important, because they pro¬ 
vided musical situations that helped round 
him out as a drummer. 

Who was Alvin Stoller listening to dur¬ 
ing this key developmental phase? What 
kind of drumming did he favor? "Jo Jones 
with Basie. The guy was just something 
else to me. He had his own identity. You 
could always tell it was Jo by the way he 
played the hi-hat. His lightness and his abil¬ 
ity to play the right things at the right time 
further identified him. 

"Drummers in those days had their own 
signature. Sid Catlett did. Gene Krupa was 
a great individual. O'Neill Spencer with 
John Kirby had his own thing with brushes. 
Certainly you could recognize Chick! Later 
Max Roach and Don Lamond had an effect 
on me; these are two more guys who cer¬ 
tainly developed their own way of doing 
things. "What I tried to do through the years 
was assimilate all the good stuff I heard 
from a variety of people and play it my 

"I loved Buddy Rich more than any other 
drummer," Stoller continues. "But I never 
tried to duplicate what he did. You couldn't, 
and I didn't want to. Every drummer has 
his own thing, his own 'fingerprints.' You 
don't interpret the same way as another 
guy. You don't have the same physical 
strength. Everyone is gifted with creativity 
of his own. To find and develop it is the 
musician's responsibility. 

"Buddy was a genius; it's as simple as 
that," Stoller continues. "He was a fire in a 
band. His sound, his time, the things he 
played behind a band, his short and long 
solos—all these things uplifted the music. 
He wasn't a drummer who just did a very 
capable job. He followed Cliff Leeman into 
the Artie Shaw band. Cliff was great; he 
was on the big Shaw hit, 'Begin The Be- 
guine.' Then along came Buddy, and he 
brought a unique feeling of life and crea¬ 
tivity to the band. Buddy was sprinkled 
with a different kind of star dust! 

"I first met Buddy when I was a kid— 
about 15. I knew his brother Mickey; we 
played in bands in Brooklyn. Finally Buddy 
and I got together and took to one another. 

I used to stay with the Rich family at the 
house in Brighton Beach. Many a day I 
went to work with Buddy—to the Astor 
Hotel or to the Paramount Theater, where 
he was appearing with the Tommy Dorsey 
Band—and just watched and listened. The 
days would usually end at Nathan's in 
Brooklyn, where we'd get some of those 
delicious hot dogs. They might not have 
been the healthiest thing to eat, but Buddy 
loved hot dogs with ketchup." 

Stoller pauses, then smiles, saying, 
"Buddy was a central figure in my life. Not 
only was he a dear friend and a model, he 
was a guy I followed into various work 
situations. The first was the Tommy Dorsey 
band, in 1945. Buddy wanted to have his 
own band. 

"I was tired of working with Charlie 
Spivak; I had done everything with the 
band, including two pictures in Hollywood: 
Pin Up Girl and Follow The Boys. It was 
time for a change. I was at New York's 
Commodore Hotel with Spivak. I knew 
Buddy wanted to leave Dorsey. Almost 
every afternoon I'd go to Tommy's rehears¬ 
als nearby at the 400 Club. I knew Dorsey's 
charts from the records and from listening 
to the band in person. I sat in with TD af¬ 
ternoons and played with him in the eve¬ 
nings between my own sets at the Commo¬ 
dore. Dorsey tried maybe 25 or 30 drum¬ 
mers and wasn't pleased. I kept coming 
back to sit in. I guess he finally noticed me 
and liked what I did, because I was hired. 
It was a good thing for both Buddy and me. 

I got to go with a great band, and Buddy 
was released from his contract and could 
go his own way. 

"Moving into the Dorsey band," says 
Stoller, "was really something. It was tough; 
Tommy was super demanding. I had never 
worked for anyone like him before. One 
thing I'll say, though: He got results. 

"But after a while he got to you. There 
were warnings not to rush tempo, not to 


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Trumbull, CT 06611 

(203) 374-0020 

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drag tempo, the constant questioning of 
your work. One night we had a bit of a 
scene. And that's when he came up with 
that classic quote that broke up a lot of 
people. He said, There are three SOB's in 
the world: you, Buddy Rich, and Hitler. 
And I have to end up with two of three.' I 
thought, 'Hitler! What the hell does Hitler 
have to do with Buddy and me?' I told 
Buddy and he fell out. 

"The experience with Dorsey, despite the 
difficulties, was important," Stoller insists. 
"I got to play with great musicians like 
Buddy DeFranco, Ziggy Elman, Charlie 
Shavers, and Bommie Richman. And the 
band was both a fantastic dance and show 
band, and played jazz things well—not like 
Woody Herman or Count Basie. But the 

TD band could swing. 

"I sometimes listen to some of the rec¬ 
ords we made during the two years I was 
with the band—'Then I'll Be Happy,' 'The 
Song Is You,' the Show Boat album—and 
they remind me of the good things, not just 
all the hard work. We were supposed to 
remake 'Hawaiian War Chant' and feature 
Charlie Shavers and Ziggy on trumpets, but 
we never got around to it. We did make a 
picture, The Fabulous Dorseys. I enjoyed 

Finally, in 1947, Stoller left Dorsey and 
returned to New York, where he did a great 
variety of work before leaving for Los An¬ 
geles in 1948 and still another career. While 
still on the East Coast, he performed with 
the Lester Lanin society orchestra and ap¬ 

peared with the Alvy West little band at the 
Strand Theater; he also played with the 
Dick Rogers band at the Hotel Edison, the 
Vincent Lopez Orchestra at the Hotel Taft, 
and the George Hall band at Roseland. 
And he was the drummer at Tony Pastor's 
in Greenwich Village for a period of time. 

"There are some great memories from 
that period," Stoller notes. "I got a job with 
the Sy Oliver big band. Most of the guys 
had been with Jimmie Lunceford. It was a 
great experience. One night in Baltimore, 
several of the Ellington musicians came over 
after finishing at the Hippodrome Theater 
and sat in. We played a 'header'—a head 
arrangement—and the band romped. The 
pulse was so strong that the floor of the 
place actually moved up and down as the 
dancers did their thing with the music. It 
should have been recorded. But anyway 
it's recorded in my spirit. I loved working 

"Equally memorable was the time I spent 
on New York's Swing Street—52nd Street— 
working with Charlie Shavers, and a bit 
later with saxophonist Flip Phillips and 
trombonist Bill Harris, who had been in 
the Woody Herman First Herd. I subbed 
for Dave Tough in the Phillips/Harris group 
for three weeks. I can't tell you how excit¬ 
ing that was, with people like Art Tatum— 
the great one—and Sarah Vaughan coming 
by to sit in. 

"One of the most instructive gigs I had 
was subbing for the percussionist and work¬ 
ing for conductor Paul Ash at the Roxy 
Theater. This is the sort of thing young drum¬ 
mers don't get to do today. You had to hold 
together a mammoth stage presentation or 
ice show. This was how it went down: The 
night before you came on the job, you 
stationed yourself in the wings of the thea¬ 
ter and watched and listened as the show 
progressed; you didn't rehearse with the 
band or even have a chance to go over the 
show. You had to absorb what was hap¬ 
pening that one time. Sometimes they let 
the drummer be on hand for another show. 
And then, the next morning, you had to do 
the job. It was stressful, but it was wonder¬ 
ful training. You literally were forced to 
produce! It made a better musician out of 

"That was the sort of training a drummer 
got in New York," Stoller explains, adding, 
"Conductors and band leaders expected you 
to be able to do everything, particularly if 
you'd had good teachers and an extensive 
background. New York offered the oppor¬ 
tunities to have varied musical experiences. 
One of the best I had was with Sinatra at 
the Capitol Theater. The show featured 
Frank, the Skitch Henderson Orchestra— 
for which I was the drummer—and the then- 


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25 Lindeman Drive 
Trumbull, CT 06611 

(203) 374-0020 



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unknown Will Mastin Trio, starring a bundle 
of energy and talent named Sammy Davis, 

As if this weren't enough, Stoller studied 
mallets with Moe Goldenberg and Phil 
Kraus, and timpani with Saul Goodman. 
He certainly wasn't lazy. But he preferred 
the warm weather of California, which sup¬ 
posedly encourages indolence and a 
'manana' attitude. In 1948, Stoller drove 
out to LA. with saxophonist Irv Roth and 
started a new life. 

He explains more fully: "I loved the work 
in New York, the learning; I even got into 
Latin percussion shortly before I left. But I 
had fallen for the California thing, as it was 
then. I had been out there a couple of 
times with Spivak. You could park your car 

and not lock it. The sand was clean at the 
beaches; the air still was okay. And there 
weren't that many people. It got in my 

"When I arrived out here, though, the 
work scene wasn't too good. All my back¬ 
ground meant nothing. There were few 
clubs, and whatever there was—the Club 
47 on Ventura Boulevard and the Hang¬ 
over on Vine Street—were Dixieland. I 
worked casuals, strip joints, whatever there 
was. Then the Empire Room opened in 
Hollywood. Georgie Auld, who had made 
such a great reputation with Goodman, 
Shaw, and with his own big bands, took an 
eight-piecer in, and it worked out well. It 
was a pretty modern band; Billy Byers, the 
trombone player, did most of the charts, 

and we recorded for Albert Marx's Discov¬ 
ery label. Right away the word got around 
that we were 'New York beboppers.' Hol¬ 
lywood was pretty conservative back then. 
But the band added a little something to 
music. It made a contribution. 

"In Georgie's band, I applied what I had 
learned from Max Roach on 52nd Street. 
He was an innovator at the time, and my 
approach to time changed a bit—more left 
hand, more accents with the right foot. I 
admired him. But I couldn't say I turned 
into a bop drummer. My swing roots were 
too strong." 

Stoller didn't really get something going 
in L.A. until he made a recording with his 
friend Mel Torme, called "Careless Hands." 
It was a hit for Torme and helped promote 
the drummer in town. There's no short-cut 
to anything, according to Stoller. You have 
to wait your turn, then prove yourself when 
given the opportunity. 

Jobs began coming his way. He did The 
Bing Crosby Show, subbing for Nick Fatool, 
Club 15 with Jerry Gray's band, and played 
with Bob Crosby—all on radio. He met 
and worked with Billy May at this time, 
also on Club 15. The relationship with May 
mushroomed into a major association. 
Stoller made a May album with singer Yma 
Sumac and joined the Billy May band that 
became such an enormous success—the 
one with the highly identifiable saxophone 
sound. It was a major orchestra of the 
1950s, including such other heavy Holly¬ 
wood players as trumpeter Conrad Gozzo, 
pianist Jimmy Rowles, guitarist Al Hen¬ 
drickson, and bassist Joe Mondragon. A 
number of innovative May albums fol¬ 
lowed—some by the basic band, others 
with enhanced instrumentation. 

"I got involved with Sinatra on a con¬ 
tinuing basis in the early 1950s through 
Billy and Nelson Riddle, who were doing 
most of Frank's charts," Stoller explains. "I 
did all of his albums and singles for quite 
some time. Things kept getting busier and 
busier. I played with several bands at the 
Hollywood Palladium. Whenever anyone 
had drummer trouble, I was fortunate 
enough to get the call. Among the leaders I 
worked for were Claude Thornhill, Harry 
James—I also was with Harry several times 
filling in for Buddy—Ray Anthony, Ralph 
Flanagan, Jerry Gray. I went East with Jerry's 
band, and we did a few things around New 

"The most important call I got in the 
early 1950s, though, was from Earle Hagen 
at 20th Century-Fox Studios. He was work¬ 
ing with orchestrator Herb Spencer. They 
were involved with many TV shows and 
were looking for a 'time' drummer who 
could play some mallets. As I told you, I 


25 Lindeman Drive 
Trumbull, CT 06611 

(203) 374-0020 

Drum School Part 1 

TtettmeUe Sxft&UeMce, 

/4veMUi6le <uc fyidea @44&e£€e 



Lee Mangano 

Jackie Santos 

*Bob James" “Tom Brown” 



Four Part Independence 
Back Sticking Exercise 
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had some mallet training and experience with timps, and I could 
read very well. But I was hesitant and turned Earle down. 

"Dave Klein, the contractor, called my wife, Mary, and said, 'Is 
Alvin crazy? This is a great chance!' But to tell you the truth, I was 
scared; I didn't want to step on my toe. But they kept at it, saying, 
'We love the recordings you've done; your drumming is great,' 
and all that stuff. They insisted they would work with me. That 
wasn't exactly true. 

"In studio work, you're always under the gun. You're expected 
to play parts, no matter how difficult they are. I'll tell you one 
thing: I've prayed a lot over the years doing TV and films. It's that 
much of a challenge, no matter how deep your background is. 
How best to describe TV and film work? It's a matter of being 
precise and right, all the time. It's brain surgery, that's what it is. 
And every operation has to be a success. There are no failures—a 
failure and you're gone. You just go in and lay it down. There are 
to no ifs, ands, or buts. 

"I had one teacher out here who was very helpful—Murray 
Spivak. He helped me put everything together—at least from a 
technical point of a view. You need teachers who really know— 
unless you're Rembrandt or Buddy Rich. 

"I also developed an 'attitude.' I didn't question anything," 
Stoller explains. "I just did the job. I made every adjustment. I 
might do a Tex Ritter record date in the morning, a film like West 
Side Story in the afternoon, and a Sinatra session at night. Each 
calls on a different aspect of your talent and background. What it 
amounts to, really, is you do what is asked. It's as simple as that." 

Buddy Rich made possible a great deal of employment for 
Stoller. If Rich had a tiff with someone or became ill, Stoller was 
called. Norman Granz, the great impresario and recording man, 
opened up a whole new field for the drummer—often because of 
the difficulty he had with Rich. Stoller toured with the star-studded 
Jazz At The Philharmonic troupe, and he made records with a 
variety of Granz artists on the Verve, Clef, and Norgran labels. 

"There were so many record dates," Stoller remembers. "I did 
Billie Holiday albums, stuff with Art Tatum—I even recorded with 


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the Ink Spots. Oscar Peterson and I often 
were colleagues on sessions. There were 
dates with Roy Eldridge, Ben Webster, 
Sweets [Harry Edison]. These led to many 
others, like with Buddy—I did his vocal 
LPs—Ray Brown, Benny Carter. You know, 
I've even made records with Eddie Pea¬ 
body, the banjo player. 

"Let's put it this way," Stoller continues. 
"In order to perform out here—when the 
scene was live music, as opposed to syn¬ 
thesizers—you had to be capable of playing 
any style, walk in and do things as a musi¬ 
cian. You had to be more than just a drum¬ 

At one point in our interview, Stoller and 
I endeavored to make a list of his credits, 
particularly in TV and motion pictures. We 
started off with The Danny Thomas Show, 
The Ray Bolger Show, The Andy Griffith 
Show, Happy Days, Emergency, I Love 
Lucy, films like Jumbo, Porgy And Bess, 
and a bunch of Elvis Presley films at MGM. 
He kept coming up with others: The Mary 
Tyler Moore Show, Little House On The 
Prairie, Man nix, Matlock, more films— 
Bullitt, Funny Girl, Planet Of The Apes, 
Sweet Charity; it was and is an endless list. 

"The memories come back as we talk," 
Stoller smiles. "There were some live gigs 
and records and TV with Gene Kelly, Betty 
Grable, Sammy [Davis], Sarah Vaughan, 
Nat 'King' Cole. I remember we had nine 
drummers when we did the TV version of 
Shogun. Maurice Jarre wrote the music, 
and there were all kinds of native Japanese 
percussive effects. On one segment of Spy 
with Bill Cosby and Bob Culp, we had a 
number of drummers participating. That was 

How about Stoller's experiences with 
Fred Astaire? "I'm glad you asked me about 
Astaire," Stoller grins and goes on. "He 
loved music and musicians. We did a lot of 
work together in the 1950s and early 
1960s—records and his TV specials. I 
helped him put the TV shows together, 
musically. Astaire, pianist Bobby Hannock, 
and I rehearsed each show, bar by bar, step 
by step. It was tedious but ultimately worth¬ 

"We rehearsed six or seven days a week. 
Hermes Pan was the choreographer. Much 
of the time, we did our work in a mortuary. 
How about that? The place was Willem 
Mortuary on Santa Monica, here in L.A. 
Astaire didn't want to be bothered; he 
needed privacy. They had this big room 
that was perfect for our needs. Astaire liked 
it. One funny thing happened there. There 
was this fellow who used to stand in the 
doorway of the room and watch us. I asked 
him, 'Who are you? And what are you 
doing here?' He turned out to be the em- 

Credits keep piling up for Stoller as the 
years pass. Except for a brief period—a 
year and a half—when he worked with 
Sam Donahue's house band at the Nugget 
in Sparks, Colorado, he has been on the 
scene in Hollywood steadily for more than 
40 years. A dominant presence in record- 

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ing and studio work, Stoller also has been 
seen and heard on jazz and popular music 
gigs in the L.A. area with performers like 
Sammy Davis and Sweets Edison. 

Stoller's plans? "I want to work. I still 
love to play," he declares. "I was a bit ill 
last year. But now everything seems to be 
righting itself, and I'm becoming fully ac¬ 
tive again. I plan to record with my wife 
Mary Hatcher; she has appeared on Broad¬ 
way and starred in some pictures out here. 
I continue with my hobbies—riding, rop¬ 
ing, and breeding horses, and collecting 
western firearms. I mostly collect antiques— 
American Indian drums and other kinds of 
percussion instruments." 

For those who might not have had the 
good fortune to hear Stoller play, he, like 

other formidable drummers, has a legacy 
that provides that opportunity. His record¬ 
ings with Tatum, Benny Carter, and others 
tell his story as well as anything. Stoller 
likes the version of "Goody, Goody" he 
made with Ella Fitzgerald on Verve. "The 
feeling is good; Nat Pierce wrote the chart," 
he says. He thinks a lot of the Sinatra things 
he did with Nelson Riddle on Capitol and 
Reprise—the most recent being "Mrs. 
Robinson." He also singles out the Billy 
May album Sorta Dixie, Sorta May (Capi¬ 
tol), and Let Yourself Co, a Riddle set (Capi¬ 

"Another I'm particularly partial to is Jim¬ 
mie Lunceford In Hi Fi [Capitol] by Billy 
May, featuring a number of the Lunceford 
musicians and some top studio guys. It's far 

more than a re-creation," Stoller insists. "Still 
another album that I like is The Music From 
M Squad [RCA Victor], with an orchestra 
conducted by Stanley Wilson. It showcases 
some great musicians—the great composer 
and conductor John Williams on piano, 
trumpeters Conrad Gozzo and Don Fager- 
quist—and the performances are enthusi¬ 
astic, full of feeling, and precise enough to 
make the music really work." 

The latter two albums feature particu¬ 
larly representative and impressive Alvin 
Stoller drumming. On the M Squad set, he 
mingles a crisp swing style, stemming from 
Buddy Rich, with modern techniques that 
are the direct result of the effect Max Roach 
had on him in the 1940s. His perform¬ 
ances are solid; Stoller is in control and 
provides a fluid pulse, a contemporary feel. 
The Lunceford offering is a reflection of 
Stoller's roots in swing music. He does an 
effective, highly authentic job making the 
Lunceford music live again. His best work 
is on "Well, Alright Then"; a smooth, eight- 
bar press roll solo, in the tradition of the 
late Jimmy Crawford, is a highlight of the 
track. More good examples of Stoller solos 
can be found on Hi Fi Drums (Capitol), a 
package co-starring Buddy Rich and Chuck 
Fiores (with Woody Herman), Louie Bellson 
(with the Just Jazz All-Stars), Dave Black 
(with Duke Ellington), and Stoller, Stan 
Levey, and Irv Cottier with the Billy May 

"I've had a full bouquet of flowers, a 
great career," Stoller concludes. "I've been 
blessed, having had the chance to play all 
sorts of music with great players and dyna¬ 
mite conductors. I was fortunate to come 
on the scene during the big band era when 
New York was in its beautiful heyday. And 
my luck held. I moved to L.A. when things 
were just really starting up in TV and films. 
And I became a part of much of the music 
made out here. Time and experience 
haven't changed my feelings. I'm still en¬ 
thusiastic about music and drums and the 
challenge of new work. I look forward to 
what tomorrow might bring." qb 


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Drum Corps International returned to 
Kansas City for the second year in a row 
(instead of the previously announced 
Montreal) for the 1989 edition of "The 
Summer Music Games: The Sound and 
Fury." A full week of competition and 
festivities began in the concert hall and 
ended on the football field. 

A unique event took place on Monday 
evening, August 14th, in the downtown 
Kansas City Music Hall: a joint concert 
featuring the Kansas City Symphony and 
the Phantom Regiment Drum & Bugle 
Corps (from Rockford/Loves Park, Illinois). 
The orchestra opened the show, and then 
was joined on stage by the Regiment's 70- 
member horn line for a performance of 
"Elsa's Procession To The Cathedral" from 
Wagner's Lohengrin. Following the 
concert, the Phantom Regiment played 
their entire 1989 musical program in the 
outdoor plaza across the street from the 
Music Hall. It was a moving experience to 
see two seemingly opposite disciplines— 
marching and symphonic—come together 
as one to share a common bond of music. 

Tuesday evening featured the Class A 
and A-60 championships. The Class A 
winners were the Ventures, an all-female 

corps from Kitchener/Waterloo, Ontario, 
Canada. The A-60 winners were the Blue 
Stars from LaCrosse, Wisconsin. 

The individuals competition allowed 
corps members to perform solos in an 
independent setting from their full corps' 
performance. This popular event has 
drawn so many participants and spectators 
that it was expanded over a two-day 
period (August 15-16). The Star of Indiana 
(from Bloomington, Indiana) had two 
winners from their drum line: snare 
drummer Rich Viano (who scored a 98.0) 
and timpanist Kirk Gay (who scored a 
96.0). For the second year in a row, "Best 
Individual Keyboard" was awarded to the 
Madison (Wisconsin) Scouts' Mike 
Knudson, who scored a perfect 100. J.J. 
Pepitone of Dutch Boy (from Kitchener/ 
Waterloo, Ontario) won the multi-tenor 
award with a score of 99.0. Two percus¬ 
sion ensembles from the Santa Clara 
(California) Vanguard came in first and 
tied for second, scoring 99.0 and 98.0, 

A feature new to the week of competi¬ 
tion was the addition of the top 12 corps 
to the Thursday preliminary competition. 
That night saw the Phantom Regiment 
scoring one-tenth above the Vanguard, 
only to have the placings reversed after 
DCI removed a two-tenth penalty 
(regarding the grounding of non-percus¬ 
sion items in the pit area). This was an 
indication of how closely contested the 

title was going to be. 

The "prelims" performances on Friday 
evening (August 18) were to be the last 
ones of the season for two corps in last 
year's top 12. The Sky Ryders from 
Hutchinson, Kansas and the Spirit of 
Atlanta from Atlanta, Georgia tied for 14th 
with a score of 82.2. For the second year 
in a row, Dutch Boy took the "unlucky 
13th" position, just barely missing out on 
a top-12 spot in the finals by three-tenths 
of a point. 

The 1989 World Championship 
competition took place on Saturday 
evening (August 19) in Arrowhead 
Stadium. The contest began with a 
welcome return by the Crossmen from 
Westchester, Pennsylvania. A former top- 
12 corps, they continued their climb back 
with a score of 84.0 for 12th place (13.3 
in drums). Their repertoire of "Wind 
Machine," "The Waltz," and "How High 
The Sun (Moon)" showcased the corps' 
jazz style. Next up were the zany antics of 
the Velvet Knights from Anaheim, 
California, who scored an 87.0 for 11th 
place (13.6 in drums). The corps traveled 
to Rio de Janeiro for "Yo Mambo" 
followed by "Velvet Knights In Tunisia" 
(which is self-explanatory!). The drum 
solo expanded the concept of bass 
drumming: Twelve set bass drums were 
carried out on the field (complete with 
foot pedals!) to be played by members of 
the snare and tenor lines, which high¬ 
lighted the music with lots of "punch." 

Another corps welcomed back to the 
top 12 was the Freelancers from Sacra¬ 
mento, California. Coming in tenth place 
with a score of 87.3 (12.7 in drums), they 
performed music of John Williams, 
including selections from E.T. and Empire 
Of The Sun. Following a year of inactivity 
in 1986, it was good to see another 
polished corps from California back in the 

The most miraculous metamorphosis of 
the summer had to be Suncoast Sound 
from Tampa Bay, Florida. Beginning the 
summer in extreme financial difficulty, the 
corps rallied themselves as the months 
progressed, finally scoring an 88.0 (13.1 
in drums) for ninth place. Their contempo¬ 
rary program was based on "Florida 
Suite," an original composition for the 
corps by Robert W. Smith. In the "Native 
Rites" movement, the pit creatively used 
various woodblocks and log drums, along 
with chanting in the horn line. 

Coming in eighth place with a score of 
90.3 (13.0 in drums) were the Bluecoats 
from Canton, Ohio. Known for their "big 
band" style and sound, the corps' 
repertoire included "Johnny One Note," 
"My Funny Valentine" (complete with a 
"surrealistic heart"-shaped drill), and 
"Sing, Sing, Sing." 

Last year's world champion Madison 
Scouts finished the 1989 season in 





A wealth of ideas and 
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a latin groove, and 
some fantastic solos. 


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and plays some ex¬ 
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Terry presents his 
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drum set starting with 
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This video also includes 
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and performances with 
Steve’s group Vital In¬ 
formation. Best Music In¬ 
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(American Video 
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An ©xcit i ng foil ow-u p 
with invaluable tips on 
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developing creativity, 
soloing, and creating a 
drum part. This video 
includes rare in-concert 
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Ahead, plus great per¬ 
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Rod discusses how to 
develop versatility, 
creating a drum pari, 
techniques for playing 
in odd time signatures, 
and his approach to 
ghost strokes and dou¬ 
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On-screen graphics 





m session 

Presents 90-minutes of 
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Steve discusses his in¬ 
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seventh place with a score of 93.6 (14.0 in 
drums). After opening with "Make His 
Praise Glorious," the corps brought back 
an old favorite in the form of "Slaughter 
On Tenth Avenue." This second piece was 
"interrupted" by a drum solo of "Three 
Blind Mice." One of their marching 
cymbal players even did a cartwheel/ 
handstand on the field! 

Star of Indiana moved up yet another 
place in their steady climb upward to 
finish in sixth place with a score of 95.3 
(14.7 in drums). The corps was sporting a 
new all-British image—from their new 
uniforms, complete with a plaid sash, to 
their music. Their repertoire of Walton's 
"Henry V," Hoist's "Song Without Words" 
and "Fantasia On The Dargason," and 
Walton's "Crown Imperial" brought back 
past memories of other corps. 

Next up the Cadets of Bergen County 
(formerly known as the Garfield Cadets) 
took the field to present their production 
of the popular musical Les Miserables. 
Scoring a 95.6 (14.5 in drums) for fifth 
place, the corps covered a wide variety of 
musical emotions. A slow-motion fight 
scene was one of the visual highlights, 
and the keyboards in the pit were kept 
busy with constant runs up and down the 
instruments. Two different songs resolved 
into one finale as the show drew to a 

The Blue Devils from Concord, 

California scored a 95.9 (14.3 in drums) 
for fourth place. Attired in all black and 
white, the "Blue Crew" performed their 
trademark jazz repertoire, including "Ya 
Gotta Try," "If We Were In Love," "Al- 
legre," and "Johnny One Note." Their 
show opened to a silent drill followed by 
a big musical entrance. Despite a few 
shaky soprano solos, the corps performed 
well. The Blue Devils also had one of the 
largest pits, featuring 13 keyboards! 

Scoring a 97.2 (14.8 in drums) for third 
place were the Cavaliers from Rosemont, 
Illinois. John Rutter's "Gloria" opened and 
closed the program, framing an original 
composition of "Images Diabolique." The 
Cavaliers' flashy cymbal line was supple¬ 
mented by a dozen guard members for a 
cymbal "company front" of 20 players! 

The Phantom Regiment poured their 
heart out into their performance of 
Dvorak's New World Symphony entitled 
"From The New World...Into A New 
Age." Unfortunately, their score of 98.4 
(14.4 in drums) was only good enough for 
second place. Painting a picture of white 
with black accents (and black drums) on 
the field, their near-perfect visual program 
complemented their music as though it 
were choreography. The powerful horn 
line's range stretched from strong impacts 
to subtle nuances, and the drum line 
performed a "music box" rendition of 
Dvorak's "Slavonic Dance No. 1." And, 

yes, that was the Phantom Regiment 
playing a jazz variation complete with 
ride cymbals and rimshots! 

Following four "bridesmaid" finishes in 
second place, this was finally the year for 
the Santa Clara Vanguard. Winning the 
1989 Summer Music Games with a record 
high score of 98.8, they also won "high 
drums" with a score of 14.9 (out of 15). 
Performing The Phantom Of The Opera 
for the second year in a row, the Vanguard 
pulled out enough "tricks" (including a 
disappearing Phantom and even a 
disappearing corps!) to win them the title 
for the second time this decade. The entire 
corps wore "phantom" masks throughout 
the show, and the pit wore decorative 
masks in the "Masquerade" movement 
(which almost caused them a penalty in 
Thursday's prelims). Despite a controversy 
involving two overage members (who did 
not compete in Kansas City), DCI's newly- 
crowned champions were proud of their 

Fans, members, and staff alike are 
eagerly looking forward to entering a new 
decade of drum corps. The 1990 DCI 
Championships will be held in Buffalo, 
New York and then move south to Dallas, 
Texas in 1991. Happy Marching! 

—Lauren Vogel 

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technologically advanced space age 
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Because what's on the back 
cover may be rust as important as 
whats on the front. 


Without it you wouldn't know. 




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Ludwig has announced the Musser M-48 
Pro Travelers ibraphone, which the 
company says they developed with the 
working vibraphonist in mind. The M-48, 
designed by Musser engineers in collabo¬ 
ration with vibist Gary Burton, incorpo¬ 
rates the professional features of Musser's 
M-55 Pro Vibe and M-75 Century Vibe 
with complete portability for easy 
transport, storage, and setup. The M-48 
has a range of three octaves (F-3 to F-6) 

and is pitched to A=440. (Optional A=442 
tuning is also available.) The unit is 
constructed with the same wide, gradu¬ 
ated bars that are standard on the Pro and 
Century model vibes. It includes a 115- 
volt 6-cycle variable-speed motor as 
standard equipment. 

The M-48 can be transported in small 
vehicles and disassembles into compact, 
lightweight sections. Its rails collapse and 
fold in half, avoiding extended pieces. 
Musser has also developed a crossbar and 
damper bar mechanism that separates into 
two pieces for easy packing. Since the 
bars of the M-55 and M-75 are completely 
adaptable to the frame of the M-48, 

Musser also offers the Pro Traveler frame 
as a separate item. In addition, a light¬ 
weight case package is available for the 
M-48. Ludwig Industries, Inc., P.O. Box 
310, Elkhart, IN 46515-0310. 


Dixon's PSHX-1 auxiliary hi-hat uses a 
regular clutch to hold the top hat, plus a 
height/tension-adjustable bottom hat 
seat to allow for closed-tension adjust¬ 
ment from either top down or bottom 

up. It also features a geared tilter to 
provide more positioning flexibility. 

Dixon's PSHK-7D drop clutch consists 
of two parts, a "clamp" and a "clutch," 
which fit all central pull rods of any 
existing hi-hat stand. The clamp part has a 
smooth action spring to release or grab the 
clutch. The clamp is pushed down to grab 
the clutch for use in an open hat position, 
and a light tap of the stick on the clamp 
will release the clutch for the closed hat 
position. Dixon is distributed exclusively 
by: D & H Music, 415 Greenwell Ave., 
Cincinnati, OH 45238-5389, (513)451- 
5000, and Scott Music Supply, 2920 
Cypress St, West Monroe, LA 71291, 


LP Music Group has announced its new 
line of Mala dor wood congas. The congas 
are made from Siam oak, are available in 
11", 11 3/4", and 12 1/2" head sizes, and 
feature traditional-style rims constructed 

P.O. Box 531 Northbrook, IL 60065 
Phone: (708) 498-4787 FAX: (708) 496*6125 


Keep sticks 
out of the way 
and right 
within reach. 

a stick 

Another innovation from M ® 


» Our reputation is in your hands. 

The “Stick Depot” holds 
drumsticks in perfect 
position . . . out of the 
way, yet ready when you 
need them. 

damps easily to a hi -hat 
stand, floor tom, cymbal 
stand, etc. Right where 
you need it 

Chrome tubes are easily 
adjustable to desired 

See your local dealer or send $8.00 each 
to Pro-Mark, 10707 Craighead I)r M Houston, 
TX 77025. Send $2 for new color catalog. 




A Christmas gift subscription to 
Modern Drummer Magazine is one of 
the nicest gifts you can give a drummer. 

It’s a year-round reminder of your thoughtful¬ 
ness. A gift that will be enjoyed and appreci¬ 
ated long after the others have been stuffed 
away in the closet! 

It also offers YOU one-stop, hassle-free 
shopping. No wrapping, long lines, crowded 
stores, or gift cards to buy. We handle it all. 
We'll even mail a gift card to that special 
someone in your name. 

You can use your credit card, or we can bill 
you later if you prefer. For faster service, call 
Toll Free: 1-800-435-0715. 

Bring Christmas joy to a drummer 
friend or relative every month through¬ 
out the year, with a gift subscription 
to the world's leading drum maga¬ 
zine. They’ll think of you all year 
through—and love you for it! 

Please send a One Year gifi subscription at $25.05 for 12 monthly issues. Send a Two Year gift for only $46.95. 

Payment enclosed 1 I 

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Citv. Slate, Zip 

Citv. Slate. Zip 

Rales good in U..S., Canada, and Mexico. For foreign delivery send $31.95 lor one year. $52.95 for two years (U.S. Currency only). Add an 
additional $65.00 per year for air mail 

from heavy-gauge steel. 

Also new from LP is their Lugger 
Bracket, which mounts cowbells, wood¬ 
blocks, and other percussion instruments 
directly onto the tuning screws of tim¬ 
bales, set drums, or marching drums. The 
bracket is made from heavy-gauge, 
chrome-plated steel, and comes with a 
3/8"-thick steel rod that is adjustable to 9". 
Latin Percussion, Inc., 160 Belmont Ave., 
Garfield, NJ 07026. 


Labor of Love 

Send /offree coufse catalog . 

Percussion Institute of Technology 

Musicians Institute 1655 McCadden Place. Box 474 
Hollywood, CA 90028 . <213} 462-1384 

Zildjian has launched a new line of 
cymbals called Scimitar Bronze, which, 
according to the company, are profes¬ 
sional-quality sheet bronze cymbals that 
are affordable even to the entry-level 
drummer. Models available in this range 
include 18" and 20" rides, 16" and 18" 
crashes, 14" hi-hats, and an 18" China. A 
factory pre-selected Scimitar Bronze 
cymbal setup consisting of a 20" ride, a 
16" crash, and 14" hi-hats is also available 
in a newly designed carrying pack. 

Zildjian says that the Scimitar Bronze 
range features new profiles and combina¬ 
tions of hammering that produces cymbals 
with fast response and quick decay and 
with colorful yet clean overtones. 

Zildjian has also announced that its 
most recent ad campaign is now available 
in poster form. Under the theme "More Of 
The World's Great Drummers Play 
Zildjians Than All Other Cymbals 
Combined," the campaign features top 
Zildjian artists involved in activities other 
than playing drums, from various sports 
activities to just reading to "hanging out." 
Avedis Zildjian Company, 22 Longwater 
Dr., Norwell, MA 02061. 



PureCussion's Muff'it drum mufflers are 
made from a closed-cell foam material 
featuring a unique non-curing adhesive 
backing that lets drummers experiment 
with placement for desired sound. In 
addition to being sold separately, Muff'its 
are also now being installed on PureCus- 
sion drumsets as standard equipment. 
According to the company, small patches 
of the Muff'it material, easily trimmed 
from strips, also work on cowbells, 
cymbals, and other percussion instru¬ 
ments. Five 15" strips are furnished in the 
bass drum package, which allows full- 
perimeter coverage of up to 24" bass 
drums. Ten narrower 15" strips make up 
the tom package and effectively mute all 
the toms in a typical five-piece kit. 
PureCussion, Inc., 5957 West 37th St., 
Minneapolis, MN 55416. 


Yamaha has announced its newest snare 
drum, the 5 1/2" brass shell model SD 495. 
The company describes the drum as an 
all-purpose snare, ideal for jazz, rock, and 
recording applications. It features ten lugs, 
Yamaha Power Hoops, and Yamaha's 
standard strainer, adjustable from both 



Yamaha has also announced the 
introduction of four new drumstick 
models. Featuring a full radius cut on the 
butt end of the stick, all models are made 
from select hickory. Of the new models, 
the R3, R4, and R5 models have rounded 
beads to improve cymbal articulation. The 
fourth model is the 77, which sports an 
"acorn"-style bead on a longer stick. 
Yamaha Corp, of America, 6600 
Orangethorpe Ave., Buena Park, CA 



Ac-cetera, Inc. has introduced Flex-eze 
into its Mic-eze product line. Flex-eze is 
composed of a 3" or 5" section of flexible 
pipe, with clamps on either end—one for 
holding a mic', the other attaching to 
drums, stands, or other hardware. Ac- 
cetera, P.O. Box 8070, Pittsburgh, PA 



HQ Percussion Products has added to 
their line of SdurCf Silencing Discs. In 
addition to being available in all drum 
sizes from 6" to 18", there are now 
SoundOffs for hi-hats and ride and crash 
cymbals. The model for hi-hats consists of 
two pieces and works on cymbals from 
13" to 15". The ride/crash model is one 
piece and works on cymbals from 16" to 
22". According to the manufacturers, like 
the original SoundOffs, these new cymbal 
models significantly reduce volume, have 
excellent stick response, and are reasona¬ 
bly priced. HQ Percussion Products, P.O. 
Box 430065, St. Louis, MO 63143, (314) 


Warner Bros. Publications recently 
announced distribution of the Carmine 
Appice Power Rock Drum System. 
Containing five audio tapes and instruc¬ 
tion booklets, this step-by-step system is 
for all levels of experience, from beginners 
to advanced. Each lesson is taught on 
cassette and then explained in a matching 
instruction booklet, which is filled with 
heavy rock beats, patterns, and exercises. 
The System is based on Appice's book 
Realistic Rock. 

Warner Bros. Publications also distrib¬ 
utes Rudiments To Rock, which teaches 
the novice percussionist basic fundamen¬ 

tals, as well as the difficult beats of today's 
rock 'n' roll. Appice's Updated Realistic 
Rock Method shows the fundamentals of 
rock drumming and includes two records 
and a full-color poster. Realistic Double 
Feet contains solos and studies designed 
to coordinate the feet. Realistic Reggae 
Rock focuses on reggae fundamentals and 
contains photos, a discography, a sound- 
sheet recording, and an equipment list. 
Warner Bros. Publications, 265 Secaucus 
Road, Secaucus, NJ 07094, (201) 348- 


Video Conservatory has released Flow To 
Play Drums Vol. 2, an instructional video 
for beginning to advanced players. The 
approximately 60-minute video demon¬ 
strates 40 drum rudiments and applies 
them to the drumset, and also includes a 
rudiment sheet. Host Dick Petrie is an 
instructor and a professional player and 
clinician in Los Angeles. He also hosts a 

On this great video. Peter explains and demonstrates what he feels are the most 
important areas for a drummer to focus on. 

He covers his philosophy of the jazz ride pattern, ride cymbal technique, indepen¬ 
dence, coordination and improvisation, illustrating these points in performance with 
a fantastic trio including John Abercrombie and Marc Johnson, (Booklet Included). 

\ jjr*. 

85 minutes of instruction, 
demonstration, and 


Please send me: EVERYTHING IS TIMEKEEPING $49.95 85 min. Booklet included 

Q uue ri D p fa Add $4,00 per order shipping (S6.00 per tape outside the US.) NY State residents, add 

a c a appropriate sates tax. Please allow 2-3 weeks far delivery. PAL available, add S6.00 per tape. 

Make check payable to: DCI MUSIC VIDEO 541 Ave. of the Americas * NX N Y 10011 

Call 1 - 800 - 342-4500 Visa/Mastercard orders (in N.Y. State, 212-691-1884) 

Name.___Add ress_____ 


Mastercard/Visa Card # 


In Europe: Music Mail Ltd., 142 Cromwell Rd., London SW7 4EF Engfand • Tel. (01) 857-6309 
Canadian Orders must be paid by International Money Order, or check drawn on a US. bank. 





~2 ’ 






_5 1 










ho put!more into their rjnusic than 

ig's Rocker Seri' 


Into their 

con bui d a kit that fits your music 

kit that's pure Ludwig—with the sound and 

And, however you build 

craftsmanship that have made Ludwig the most f< 


imous name on 

locker. They sound expensive 

See your Ludwig de 


RO. Box 310 • Elkhan. IN 46515 

Model LI 
in silver s 

jii rn 


z _ -1 

two different sizes that are positioned for 
easy playing. Each pad can be assigned 
individual MIDI note numbers, allowing 
users to customize the unit's setup to meet 
their preferences. Fourteen preset rhythm 
patterns in a variety of different styles, in 
addition to individual introductions, fill- 
ins, and variation patterns for each 
rhythm, enable the PAD-5 to operate as a 
rhythm machine as well. The Preset 
Assign feature automatically assigns 
various instruments to different pads for 
each preset rhythm pattern. The unit can 
be held or placed in a lap-top position 
and is battery-operated. According to 
Roland, the PAD-5 is ideal for educators 
who want to introduce non-musicians to 
electronic instruments or augment their 

percussion instruction. RolandCorp US, 
7200 Dominion Circle, Los Angeles, CA 
90040, (213)685-5141. 


Bruel & Kjaer has recently introduced a 
new addition to its 4000 series of micro¬ 
phones, the 4012 cardioid mic'. The 4012 
professional microphone is a polarized 
condenser mic' with a first-order cardioid 
directional pattern, and is powered from 
Bruel & Kjaer's 2872 dual-channel power 

supply. The 281 2 supplies 103 volts to the 
preamplifier of the 4012, which enables 
the microphone to handle up to 168 dB 
SPL before slipping occurs (a 10 dB 
improvement on the figure for Bruel & 
Kjaer's 4011). 

The 4012 is finished in anodized matt 
black, and is delivered with a windscreen 
of measurement-microphone quality and 
what the makers call a radically different 
microphone clip designed with both 
acoustic and ergonomic considerations in 
mind. Bruel & Kjaer Instruments, Inc., 

185 Forest St, Marlborough, MA. 01752, 
tel.: (508) 485-7000, FAX: (508) 485- 

Please rush me by . Make check or money order payable Jo 

mOSlD IS: □ $49.95 for video FR££ SHIPPING 

□ $14.95 for workbook ^ 8033 Sunset BM..Suite 110 

ftitSffflD $59.95 for video and workbook ™0N£Y Hollywood, CA 90046 

Outside U.S. add $3,00 per item • CA & IX residents add sales lax. Please allow 2-4 weeks far delivery. Dealer inquiries Invited 

None (pltfose priniU 



as Bobby takes you through his unique 'melting pal' 
melhod of fusing and 

concepts in on innovative approach to 

Packed with blazing solos and detailed 
demonstrations, M ETALMO RPH OS IS includes: 
Powerhouse Rock Techniques 
Syncopal ran 

Double Boss Groove, Fill, and Solo Applications 
Linear Ideas 

Blinding Crossover Patterns 
Four-Way Independence Concepts 
{including Jf Ihe Monster") 

Extensive Soloing Studies 

Pius in-depth interview footage and much r, much 

This presentation is a must for all drummers ready to 
unleash their potential. 

The METAMORPHOSES Workbook: 60+ poges 
containing all patterns demonstrated in the video, plus 
plenty of supplementary exercises of each concept. 







• R.I.M.S. • L.P. • PROMARK 





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Resurrection Drums, Inc., 2920 5.W* 30th Avenue, Hallandale, FL 33009 

Call (305) 945-8096 or 457-9020 

R£A DERS ' FL A TFORM continued from 6 

the good work! 

John Perry Penn 
Houma LA 


I am writing in response to Randy Bradley's 
letter in the October Readers' Platform. 
Maybe I can offer some observations from 
someone who has "been there." 

First of all, Randy, it is obvious that your 
frustrations have been building up for quite 
some time. Are the other musicians in your 
band aware that there is a problem? Have 
you tried approaching them in a mature 
and reasonable manner? They are people, 
too. If they care about you, your feelings, 
and your input, they'll respond. Remember 
the old saying: "If you are not part of the 
solution, you're part of the problem." 

Secondly, have you tried to "punch 
it...kick it...speed up...lay back...etc." when 
they asked you to? Sometimes other play¬ 
ers have good ideas, but as non-drummers 
they have trouble communicating those 
ideas in drumming terms. Think about it. If 
their suggestions seem endless, maybe it's 
because they're uncomfortable with the feel 
but can't explain why. Go back to the rec¬ 
ords and check the feel and the sound. Go 
back into the practice room and check your 

While I'm sure you'll find most drum¬ 
mers to be sympathetic, you are essentially 
spitting into the wind when you air your 
complaints in Modern Drummer. Maybe 
your comments would have a better effect 
on the pages of Guitar Player, Keyboard, or 
Musician, since it is with musicians other 
than drummers that you have those com¬ 

All in all, while you must accept the 
limitations of a "Holiday Inn-type" gig, I 
can say from experience that there is no 
need to bore yourself cranking out record 
copies. If you are bored, you will look and 
sound bored. Sincerity is the key. People 
will respond to a sincere attempt to reach 
them—whether they are the other mem¬ 
bers of your band or the members of your 
audience. Good luck. 

Frank Dickinson 
Stony Point NY 


25 Linde man Drive 
Trumbull, CT 06611 

(203) 374-0020 

What does a 





The Modem Drummer 
Library presents: 


| ONLY | 

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I Please send me _ copies of 


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I Name_| 

! Address _. 

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Make checks payable and mail to: 

Hal Leonard Publications 
P.O. Box 13819 
Milwaukee, Wl 53213 

Do not send cash U S. Funds onEy 
Please allow 6 to 8 weeks for delivery. MOD-i 5 * 



Basic: sound reinforcement of 
acoustic drums to complete 
electronic/Mini setup* for 
today's drummer 


OH U111 Ill f?R Publications, Inc. 




All of the information today's 
drummer needs to know about: 


From simple, basic uses of electronics 
to complex, total electronic setups, 


what you need to know—in straight¬ 
forward, "user-friendly" language. 


D 1 

R U M 1 

L 1 

1 N 1 

Send quick, proven tips that have saved you time, money, or effort to Drumline, do Modem Drummer, 870 Pompton Avenue, Cedar Grove, NJ 
07009. Items can range from equipment maintenance, repair, or design tips to valid practice and playing ideas. Please keep your tip to 150 words 
or less, and be sure to include your name and address. We will pay $15.00 for every tip we publish. 


I'd been experimenting with miking my set, 
and had a problem: Though I had several 
cymbal stands, I had no mic' stands. My 
solution was to take a piece of 5/8" pipe 
(from one old mic' stand) and cut it into 1" 
sections. I soldered a wing nut onto the 
bottom of each section and threaded the 
top of each section to fit my mic' holders. I 
then installed these "adaptors" on my extra 
cymbal stands to create temporary mic' 
stands. Though they are somewhat un¬ 
sightly, they are cheap and effective, and 
ought to last long enough for me to replace 
them with the "real thing." 

Derek Sharp 

Pittsburg KS 


I'd like to pass along an idea I had for 
adding small cymbals to my kit. I wanted 
to add a small Ice Bell, but did not want to 
use a separate stand for it. I first mounted 
the bell on a stand atop another cymbal. 
This provided some interesting tonal vari¬ 
ations. But then the light came on! I used a 
spare hi-hat clutch to mount the Ice Bell on 
the hi-hat rod over my primary hi-hat cym¬ 
bals. I compensated for the added weight 
by adjusting the spring tension on the hi- 
hat. Using this mounting method places an 
alternate sound source in close proximity 
to my hi-hat stick(s). 

Steven Klinck 
Madison TN 


As we all know, it's next to impossible to 
get a pure tone from a severely dented 
head. Years ago I discovered a method for 
"repairing" pits and dents in heads without 
having to remove them from the drum. 
Granted, I've found this repair method to 
be of limited use on two-ply heads (Evans 
Hydraulic, Remo Pinstripe, etc.), but it 
greatly extends the life of single-ply Am- 

AVAILABLE. Over 25 choices of Pearls, 
Sparkles, Satin Flames and Woodgrains 
Send $1.00 for full information and samples 
(refundable on first order). PRECISION 
DRUM COMPANY, Dept. C, 151 Califor¬ 
nia Road; Yorktown Heights, N.Y, 10598 



Down Under 

bassador-type heads. All you need is a dis¬ 
posable butane lighter (Bic, Cricket, etc.). 
Other sources of flame will work, but I've 
found that disposable lighters work best. 
Adjust your lighter to a medium-low flame, 
and then wave it from side to side on the 
drumhead where the dent is located. Make 
sure that only the heat from the flame 
touches the head! The idea is to heat the 
Mylar, which returns to its original shape. 
(Apparently, it's a plastic with a "memory.") 
Note: Remember to wave the lighter! If the 
flame is left stationary, your head will 
bubble, melt, and burn (in that order)! 

Elliot Pietri 
Yauco, Puerto Rico 


A serious and annoying bass drum prob¬ 
lem can be remedied for less money than it 
costs to buy a pair of brushes. The problem 
is bass drum creep; you know you have it 
when your drum has worked its way four 
feet in front of the singer! The remedy is: 
cello stops. These are light (but very dense) 
rubber doughnut-shaped disks meant to 
support cellos. Place one under each spur 
and your bass drum won't budge on waxed 
floors or linoleum, and you won't tear car¬ 
peting (making you very popular with em¬ 
ployers). These 3 1/2" wonders have the trade 
name of Rock Stops and are available in 
most full-line music stores at a cost of $7.50 
or so each. For thicker spurs, you might be 
better advised to purchase the bass viol 
model with a larger holding cup. I find that 
a pair lasts me about five years. Throw 
away your chains, bricks, anchors, and 
carpets; these work! 

Cary Nasatir 
Castro Valley CA 


For those of you who do not have a second 
snare drum on your gig, or who cannot 
afford the time to replace a broken snare 
head in the middle of a set, purchase a 
Remo 15" PTS Ambassador Bright head. If 
your regular snare batter head breaks, just 
rip out the remaining plastic and slap the 
15" PTS head over the still-attached 14" 
snare drum rim. Secure it with a few pieces 
of gaffer's (duct) tape, and you're up and 
playing in 60 seconds! 

George Lawrence 
Jackson MS 


I recently bought a twin bass drum pedal. I 
found it a problem to play double bass 

with a tight hi-hat. I know I could have 
bought a drop-lock clutch, but I'm only 15, 
and money is tight. So I went down in the 
basement and dug up a piece of metal 
about the size of a large felt cymbal washer. 

I painted it chrome so it would look good, 
and put it on top of the cymbal washer of 
the top hi-hat. It added some weight, so 
that when I release the top cymbal it sits 
more heavily on the bottom one, giving me 
a tighter closed hi-hat sound. I was lucky 
to find this particular piece of metal, but a 
collar from a barbell works the same. 

Marc Giordano 
Chester NY 


I've received many compliments regarding 
the action and—believe it or not—lack of 
squeaks from my Speed King pedals. I'd 
like to pass on what works for me, and will 
work for anyone else on any Speed King. 
At either side of the axle where it meets the 
yoke, spray a little WD40 —just enough to 
get the spot thoroughly drenched. Next, at 
the same points, add one or two drops of 
Three-In-One oil. This will keep the bear¬ 
ings well-lubricated. Next, at the point 
where the footplate connects to the pedal 
(which is where I think the real problem 
lies), apply a generous amount of Vaseline 
or other petroleum jelly. With a Speed King, 
when pushing the pedal you are actually 
grinding metal against metal at this linkage 
point. But this can work in your favor when 
you use the Vaseline, because it's also being 
rubbed into the metal at the same time. 
After just a couple of applications your 
pedal will be squeakless! The Vaseline pro¬ 
tects the metal, lubricates the points of 
stress, and kills the squeak. 

Butch Melton 
Indianapolis IN 

No/e: The tips presented in Drumline are 
suggestions based on the personal experi¬ 
ence of individual drummers, and are not 
necessarily endorsed or recommended by 
Modern Drummer Magazine. Modern 
Drummer cannot guarantee that any prob- 
lem will be solved by any Drumline sug¬ 
gestion, and cannot be responsible for any 
damage to equipment or personal injury 
resulting from the utilization of any such 
suggestion. Readers are encouraged to 
consider each suggestion carefully before 
attempting to utilize any Drumline tip. 



1 r fwPrla 


h LU D 


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month two months proceeding on-sale date. Ads received after the deadline will be held for the next issue unless otherwise 
specified. All ads must be paid in full in advance. Mail ads to: MD c/o Drum Market. 870 Pompton Ave. P Cedar Grove. NJ 



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friimbulf, CT 06611 

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SUM) «• 


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p.o Krai 10R ■ .^rchtd-g. FA 



next month in FEBRUARY'S 









and Columns by: • Jonathan Mover 

• Colin Bailey 

• Anthony Cirone 

and much more., .don't miss it! 



ABK Rocks. 

Aquarian Accessories. 

Mike Balter Mallets 

Sam Barnard . 

Berklee College of Music .... 
Brady Snare Drums . 

Calato/Regal Tip .&. 

CMP Records. 

Corder Drum Company. 

DC 1000 .. 

DCI Video.-. 

ddrum.. . 

Drum Doctors 

Drummers Collective 

Drum School I . 

Drums on Sale. 

Drumstix . 

Drum Workshop. 

Dauz Designs 

Empire Group -. 

Evans Products.. 

Explorers Percussion. 

GC Music . 

Gretsch ......... 

Hart Systems, Inc.. 

Joe Pet .. 

Kaman Music Distributors. 

Latin Percussion, Inc.. 

Long Island Drum Center 
Ludwig Industries .. 

M&K Productions 

Mapex Percussion .. 

MD Library . 

Metalmorphosis/Bobby Rock 

Monad Publishing .. . 

Music Source International . 
Musician's Institute . 


. 96 

. 94 

.. 100 


. 58 

. 57 



. 73,93,99 

.. .. 52-109 

• 86 

. - - . 39 

. 40 


..... 56 



. 109 

. 61 

Inside Back Cover 

. 104 

. 57 

. 85 



101,Inside Front Cover 

. 59 

. 11 

. 105 

. 102 

. 71 

. 104 


Noble & Cooley - . 90 

Paiste... 37 

Pearl International . 16/17,59,66,95 

Percussion Paradise 103 

Precision Drum Co. -.-63 

Premier Percussion USA .5 

Pro Mark. 44,70,96 

PureCussion. . ... 13,15 

Remo . 71,84,92 

Resurrection Drums. 104 

RimSHOT America. .. 92 

Royce Percussion 94 


Sam Ash Music Stores. 72 

Sapphire Percussions 88 

Shark Byte Engineering .88 

Shure Brothers . 41 

Solid Percussion, Inc . 107 

Sonor Percussion .. , . 9 

Tama .7,75,82,111 

Thank-you from Carl Palmer . 91 

Thoroughbred Music . 53 

Tropical Productions.109 

Vater Percussion . 70,109 

Vic Firth, Inc. . 36,52,87 

Waddell's Cymbal Warehouse .109 

Glenn Weber Drum Studio . 109 

The Woodwind & The Brasswind .74 

Yamaha . 6,67,69 

Zildjian . .. 45,47,49,Outside Back Cover 



When iI comes to 
drum hardware 1 , no ^ 
one has been more 
innovative than lama,., 
the first heavy duty hard¬ 
ware,! he first; (double braced 
stands, the first boom stands, 
the first multi-clamp systems, 
the first non-mar nylon bush¬ 
ings and now,..Titan Stilt, 

A straight stand is one of the 
drummer's most used tools^^ 
but it can he a placement 
headache. The Tama Stilt 

System was developed to over¬ 
come tile limitations of the ordinary 
straight stand. Stilt's simple yet effec¬ 
tive tilling capabilities fill the void that 
existed between straight and Itoom 
stands,,,and at the cost of a straight 

This Si ill tilling feature lias been 
incorporated into the entire line of 
our ullra-heaw duty Titan stands 
yielding a totalis vmit|ue look. But we 
haven’t forgot tint what has a I wavs 
been the most important Tania 
feature—strength. A totally rede¬ 

signed die-rns! tripod joint makes our 
Titan line stronger than ever. 

Titan Stilt. ..New Style.. .New 
Strength...with all I lie quality you 
expect fr om lama. 


5r9 mWm^IAA/lA 

I ni I'm I mlhrmnliim on TAM \ Ihinhvim 1 ptrti*<> 
vMiu- n>; riiiia, n.‘pt. Mi)L>m. m n»\ mi. Hen- 
Siili'iii. V\ 11)020 * JJ1 I'nidiinr Wav. I’oitmnn. C\ 

amis-vuii - m 2000. laiiim Mill*. in si my ■ 

In (Imnda: 2 Hi t 14 a I h \w , I .admit'. yiirlH'f. t aiiadn 
IIS 121*1. 

> P6&fo (fatten^ 

/ttex *Vcui Staled’ 

working- u \n sp T vl to te, ftna 


iir TYve 


needS mveev«> 

^rejection is* 

and P ut 



, , lro m Greisch drums 

11 g^ rC T rec0 rd\ng 


* Wif 

;n MV— , Siam 


_ P excising 
*n tne ^ ^(ore 


1 ® 

Someday, you’ll own Gretsefi. 


Z. Zildjians. Without them, today's music would be without 
much of its edge. 

They are a totally new design in cymbals created spe¬ 
cifically to cut through even megawatt amplification. 
Cymbals like Dy no-beat HiHats and Heavy Power 
Rides have simply become standard equipment 
for contemporary heavy rock drummers. 
Today's rock and roll calls for cymbals with 
% quick response, explosive volume poten- 

| tial, a nd powerfu 1 projection. Wh ich led 

us to combine the Zildjian alloy with 
|h innovative computer hammering tech¬ 
niques, to create an unlathed, heavier, 
and just plain louder series of cymbals. 
Cymbals with their own distinctive rock- 
11 musicality that sound great and hold up 
L/ under even the heaviest of techniq ues. 
Along with K'sand A's, Z. Zildjians are 
in the kits of such leading rock drummers 
as Tommy Aldridge, Gregg Bissonette, Joey 
Kramer, Randy Castillo, Rikki Rockett, and Fred 
Couiy. ..and should likely be in yours as wel 1. 

The Z's. One more reason that more of the 
world's great drummers play / 

Zildjians than all other —i f-V ^ 
cymbals combined. f I Ail x 

The Only Serious Choke. 

© B89The Avodis Zild| Gi., Lbngwater Drive, Noiwetl, MA 02061